November 17 & 18 Louisiana Purchase Auction by Neal Auction

Neal Auction Louisiana Purchase AuctionTM November 17 & 18, 2012

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Front Cover (detail): William Henry Buck (Norway/New Orleans, 18401888, active New Orleans, 1869-1888), “Three Cabins Along Shoreline,” o/c, sd., 18 x 30 in. Prov.: Bocage Plantation Collection; to Harry T. Howard III, New Orleans. Back Cover (detail): Fine Paris Porcelain Cathedral-Form Mantel Clock, c. 1835, iron-red stenciled mark for “Ancienne Maison Dagoty/ Ed. Honore, 4 Boulevard Poissoniere, a Paris,” silk thread movement by Raingo Freres, h. 24 in. This Page (detail): Rare Pair of American Classical Carved and Gilded Rosewood Recamiers, early 19th c., h. 33 1/2 in., w. 89 in.

LOUISIANA LOUISIANAPURCHASE PURCHASEAUCTION AUCTION™ October November 6 17&& 7, 18,2007 2012 On Our Premises 4038 Magazine Street & 3923 Carondelet Street • FEATURING: 18th and 19th c. American, French and English antiques, Southern paintings, historical material, and decorative arts especially consigned by discerning collectors, estates, and institutions, including: • Important Portraits Descended in the Family of Louisiana Governor André Bienvenu Roman (1795-1866) • Property from the Succession of Molly F. Reily, New Orleans • Property from the Succession of Harry T. Howard III, New Orleans • The Imagination Collection of the Hotel InterContinental, New Orleans • Additional Property from the Barrow/Brandon/Bedgood House at Greenwood Plantation, Pinckneyville, MS • Property from the Estate of James P. Raymond (1931-2011), New Orleans • Property from the Estate of Judith Gic Shelton (1947-2011), New Orleans • Works on Paper from the Collection of a South Louisiana Lady • A New Orleans Gentleman’s Collection of 20th c. Paintings • A Collection of Tribal Art from Africa, Oceana, Asia, and the Americas

EXHIBITION both galleries beginning Monday, November 5, 10 a.m.to 5 p.m. Special Saturday Preview, November 10, 10 a.m. to 5 p.m. Evening Preview Reception, Thursday, November 15, 5 to 8 p.m. AUCTION SCHEDULE Saturday, November 17, 10 a.m., 4038 Magazine Street Sunday, November 18, 11 a.m., 3923 Carondelet Street

Neal Auction Company Auctioneers & Appraisers of Antiques & Fine Art 4038 Magazine Street, New Orleans, Louisiana 70115 • 504-899-5329

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Molly Reily (1930-2012) Molly Reily (1930-2012) was a native North Carolinian who spent her adult life in her adopted hometown, New Orleans. A volunteer activist, Mrs. Reily supported numerous worthy causes and served on the boards of the United Way for the Greater New Orleans Area, Metairie Park Country Day School and The NOCCA Institute, and on the Vestry of Trinity Episcopal Church.

Mrs. Reily was also a lifelong supporter of the arts and local artists. Her collection was showcased in her historic French Quarter home. The house and her hospitality feature prominently in John Beshâ&#x20AC;&#x2122;s My New Orleans; the garden is shown in Gardens of New Orleans. Neal Auction Company is pleased to present a selection of artwork from Molly Reilyâ&#x20AC;&#x2122;s collection.

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The Imagination Collection of the Hotel InterContinental New Orleans When the Hotel InterContinental New Orleans was developed in the early 1980s, the owners, Intercontinental Hotels Corporation and Pan-American Life Insurance Company, envisioned making the hotel interior a showcase of contemporary New Orleans art. With the guidance of their art consultant, Arthur Roger, they commissioned and purchased the group of artworks known as the Imagination Collection. The artists of the Imagination Collection are shown in the photograph below. Neal Auction Company is pleased to offer this wonderful collection of New Orleans works.

Session One Saturday, November 17, 10 a.m. 4038 Magazine Street

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3. A Copeland Parian Figure of “Nora Creena”, after Raffaelo Monti (1818-1881), dated 1876, marked “Copyright reserved / Copeland / ©73”, height 21 1/2 in. $1000/1500 4. An Extensive Paris Porcelain Gilt and Polychrome Dinner Service, late 19th c., marked “Ch. Pillivuyt & Cie Paris”, decorated with violet and gilt banding, a red and gilt script monogram “A B T”, and leopard armorial crest, consisting of a circular lidded vegetable, oval lidded vegetable, two open vegetables, two pairs of oblong platters, lidded sauce tureen with undertray, 12 plates, 10 salad plates, 12 bread plates, 6 soup plates, 12 tea cups with 9 saucers, 8 coffee cups with 10 saucers, a pôts-de-crème stand with 6 pôts-de-crème and 2 individual pôtsde-crème.

1. French School, 19th c., two porcelain miniatures including “Napoleon II, Duc de Reichstadt (1811-1832), son of Napoleon and his second wife Marie Louise of Austria”, signed “Lauri(?)” lower right, titled on brass plaque en verso, sight 2 2/3 in. x 2 in., and “Portrait of Madame de Pompadour (1721-1764), mistress of Louis XV, King of France”, signed “Neilla?” lower right, 4 in. x 2 2/3 in., both in ornate bronze standing frames. (2 pcs) $700/1000

W 2. Continental School, 19th c., “Rosalie Julie Von Bonar”, miniature

watercolor on ivory, unsigned, sight 3 in. x 2 1/4 in., label en verso reads, “Rosalie Julie Von Bonar, King Ludwig’s Favorite”, in a brass easel frame; together with C.D. Fredericks (German, late 19th c.), “Gentleman with a Red Beard”, miniature watercolor on ivory, signed lower left, illegible notation lower right, 3 1/2 in. x 2 3/4 in., in a brass frame, (2 pcs.) $200/400 Note: Accompanied by original receipt from Lang Antiques, San Francisco, California.

$1000/2000 W 5. A Group of Twenty Sulphide Tie Backs and

Picture Pins, 19th c., with reverse painted red stars and flowers, diameter 3/4 in. to 2 3/4 in. $200/400 W 6. A Group of Twenty Sulphide Tie Backs and

Picture Pins, 19th c., diameter 3/4 in. to 2 3/4 in. $200/400 W 7. Four Continental Gilt Glass Tie Backs, 19th c.,

with hand-painted grapes and leaves, diameter 3 3/4 in. $100/200 8. A Pair of Charles X Gilt Bronze Candlesticks, 19th c., partially fluted stems with acanthus and berry collar, height 9 1/4 in., base diameter 4 1/4 in. $500/750

9. A Georgian Tôle Peinte Oval Gallery Tray, late 18th c., reserve depicting pastoral scene beside the sea, height 1 1/2 in., length 30 in., width 22 1/2 in. $700/1000 10. An English or French Gilt Bronze Torchere, late 19th c., in the Chinese taste, with pierced frieze on ornate tripod supports with stylized dragon head finials, height 48 3/4 in., diameter 16 in. $800/1200 9

11. A Rare American Classical Carved Mahogany Secretary Bookcase, after 1830, by Rufus Pierce, New York, bears stenciled label “R.Pierce/Furniture/Ware House/218 Broadway/New York”; upper case with molded cornice, glazed doors enclosing burled walnut shelves and fitted interior, flanked by columns; lower case with baize-lined writing surface, two short over two long drawers flanked by columns, suppressed ball feet, casters, height 87 1/2 in., width 45 1/2 in., depth 22 1/4 in.

$4000/6000 Note: Rufus Pierce had sole proprietorship of a furniture warehouse at 17 Market Street in Boston from 18281829 before partnering with Nathaniel Messer in 1829/30. In 1830 the partnership failed and they were forced to sell the Market Street Warehouse; Pierce relocated to New York at 218 Broadway. Reference: Talbot, Page. “Boston Empire Furniture”, The Magazine Antiques (May 1976), p. 1008.

12. An American Carved Mahogany Metamorphic Library Step, early 20th c., Westing, Evans & Egmore, Philadelphia, upholstered top enclosing folding steps, blind fretwork frieze and conforming bracketed legs, open work X stretcher, closed height 21 in., width 24 1/2 in., depth 24 3/8 in. $500/750 Note: Westing, Evans & Egmore are noted for supplying the furnishings for the Folger Shakespeare Library in Washington DC, dedicated in 1932. Reference: United States Department of the Interior/National Parks Service, National Register of Historic Places, Form 10-300, Dec. 1968, entry number 69-06-08-0015.

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13. A Pair of American Classical Carved Mahogany Side Chairs, early 19th c., Boston, each with tablet crest, volute scroll medial rail, saber legs. $800/1200 14. An Antique American Federal-Style Carved Mahogany Three Pedestal Dining Table, reeded edge top opening to receive two leaves, central pedestal with quadripartite and flanking pedestals with conforming tripartite lyres atop incurvate plinths, arched acanthine legs, brass paw feet, casters, height 28 in., extended length 134 3/8 in., width 45 in. $5000/8000 13

15. A Regency Carved Giltwood Overmantel Mirror, early 19th c., blocked crest with spherules, the allegorical frieze depicting Roman chariot pulled by lions, tripartite beveled mirror plate, ebonized rabbets, Corinthian column stiles, blocked base, height 36 in., width 50 in. $700/1000

16. John P. Weimar (American, known active 1852-1853), “Bust of George Washington”, after Jean-Antoine Houdon (French, 1741-1828), superbly patinated bronze, with two cursive inscriptions: the first, on left shoulder truncation, “Houdon. 1785. / cop. by J. P. Weimar. Mount Vernon. 1852 / approved by George W. P. Custis Esqu.” and the second, on right shoulder truncation, “casted in bronze by J. M. Günthermann.”, black marble plinth, overall height 28 in. $4000/6000 Provenance: The Estate of Françoise Hermann, Cape Cod, MA (Bonhams Brookline, 2 May 2004, lot 1516); Conner-Rosenkranz, New York, 2004; Private Collection. Note: This exceptional bust represents that ultimate rarity, a superlative bronze replica of Houdon’s lifetime portrait of Washington, made by a known American artist at a known date earlier than any other, and not represented by any casts other than this one unique bust—which was apparently made as a test casting for the replication of Houdon’s full-figure marble statue of Washington in the Virginia State Capitol.

Taking pride of place over both these bronze versions from the later 1850s is the unique bronze replica of 1852 offered here, the result of a partnership between the modeling artist, John P. Weimar, and an associated team of founders. These included at the outset not only John M. Günthermann—the caster of this masterful example—but eventually also Ludwig von Bucholtz (another émigré from Germany), both of whom worked under the direction of the Englishborn master foundryman, William James Hubard (1807-1862). After obtaining permission from the Virginia legislature in 1853— significantly, less than a year after Günthermann had successfully cast Weimar’s bust version of the original Washington by Houdon—this threeman team built a foundry in Richmond, and in 1856-59 executed six replicas of the standing marble figure at the Capitol: those early replicas are now at V.M.I. in Lexington; the state capitols of North and South Carolina; New York City Hall; Miami University, OH; and the Saint Louis Art Museum. In 1862 Hubard was killed in an explosion at the foundry (then requisitioned by the Confederacy); of the talented Günthermann and Bucholtz nothing more is known. Even of the gifted sculptor of this bust, John P. Weimar, the only other item that has been added to his biography is that on 24 February 1853 he submitted four plaster portrait medallions, and two crayon drawings, to a prize competition at the Mechanics’ Institute in Washington; we can probably assume that his was one of the promising young careers that was cut short by the Civil War.

The plaster life mask on which all Houdon’s various versions of the Washington are based was made at Mount Vernon (reputedly while the General was stretched out on the dining-room table) by the great French sculptor with the aid of three assistants, between the 2nd and 19th of October 1785. It was executed in response to a resolution of the Virginia legislature to order a full Unique in all senses, then—in its figure of the General in marble, and status as the sole version to be to the joint recommendation of known, and in terms of the doubtless Jefferson and Franklin that Houdon war-shortened lives of all its (then the greatest sculptor in Europe) executing protagonists, as well as in should be selected for the task. its striking primacy of date—this Accordingly Houdon sailed for unparalleled work is certainly one of America together with Franklin in the the most noteworthy monuments of summer of 1785, made both the its immortal sitter. Houdon braved mask and an original clay bust (still at two Atlantic crossings to craft this Mount Vernon, fired at low enduring image; but he could hardly temperature in the kitchen oven), have foreseen that his later and took careful measurements for compatriot Ferdinand Barbedienne the full figure; he returned to Paris (1810-1892), whose Paris firm with the mask and a second bust on eventually cast bronzes after the 16 Christmas Day. Houdon completed marble versions of his draped Bust of his full-figure marble in 1792, and Washington, would be not only that statue was set up in the Capitol rivaled, but—in fineness of rotunda at Richmond in 1796. It execution—probably surpassed, in remains a unicum (in its status as an autograph marble)—though we have seen this masterwork, lot 16, by a pair of Civil-War era American craftsmen. that Günthermann was one of a team that made six bronze replicas of the figure We are deeply indebted to Janis Conner and Joel Rosenkranz, as well as to their in 1856-1859. Houdon’s autograph marble versions of the bust alone are both assistant Becca Broughton, for transmitting the impressively documented draped à l’antique, in tunic and toga (or more rarely in a simple shirt and scarf), background to the provenance and scholarship of this important bust. and bare-chested (as in Mount Vernon’s prime original, and here). The original References: Anne L. Poulet, Jean-Antoine Houdon, Sculptor of the Enlightenment, Washington, 2003, pp. low-fired clay bust at Mount Vernon was used as a model for a bronze equestrian 263-268, no. 47; Michael Edward Shapiro, Bronze Casting and American Sculpture, 1850-1900, Newark, London, and Toronto, 1985, pp. 60 (fig.52), 173; Fact Sheet, 2004, Conner-Rosenkranz, New York. figure of Washington at Richmond by Henry Kirke Brown (completed 1856); it was directly replicated by his fellow American, Clarke Mills (bronze copy presented to Col. John A. Washington before 1859, and still in the library at Mount Vernon). W denotes the lot is illustrated at www.nealauction.com

17. Attributed to Cephas Thompson (American/ Massachusetts/Virginia, 1775-1856), “James Barbour (17751842), with Thomas Jefferson’s first project for Barboursville”, 1810, oil on canvas (over penciled guidelines for the façade), unsigned, 29 in. x 24 in., framed; Estate Collection. $10000/15000

Monticello), that are explicitly labeled “T. Jefferson Arch. R. Mills Del. 1803” and are still preserved among some 460 Jefferson architectural drawings in the Randolph/Coolidge collection at the Massachusetts Historical Society. The absolute identity of this rendering with those drawings is confirmed by several of Mills’ individual traits in the “façade” represented here: the columnar Order is shown as baseless Doric, Mills’ favorite (whereas Jefferson preferred Tuscan, with a base); the Doric Order is repeated in the corner pilaster at right, a personal “trademark” which Mills almost universally applied to his built façades; this building is raised on a multi-stepped stylobate (another standard Mills motif); and—crucially—the treatment of cast shadows here is utterly identical to those on the finished drawings preserved in Boston. Mills had learnt such a skill in his professional apprenticeship with Hoban at the White House in 1800-2, but Jefferson had never mastered it (thus prompting his choice of a young professional to redraft his projects). Throughout this rendering, there is a severity of line and sobriety of effect which point very clearly toward Mills’ future achievements; yet the forms themselves (most notably the half-windows above the longer main ones, and the dome itself) are purely Jeffersonian—and Jefferson’s exact revision of this design, scrupulously followed (except for its unbuilt dome) in the actual construction of the house at Barboursville, is preserved in his final draft among the Jefferson drawings at Boston.

Note: James Barbour, after a meteoric rise as a Jeffersonian protagonist in the Virginia legislature, was serving as Speaker of its House of Delegates (9 February1809-3 January 1812) when Cephas Thompson, an itinerant artist from Massachusetts, came to Richmond about 10 December 1809 (for a stay through the early summer of 1810), to continue painting the portraits of Virginia worthies. He had pioneered a pattern of spending the summer and fall seasons in his hometown of Middleboro MA, then migrating south in search of patrons; already he had made two trips to Charleston (1800-1 and 1804-5) plus one to Baltimore (1803-4)—as well as an intermediate stay in Rhode Island (1806-7)—before realizing that he could obtain an abundance of portrait commissions in Virginia. In two seasons at Alexandria (1807-8 and May 1809) he painted 80 of the area’s prominent citizens; at Richmond from December 1809 to the spring of 1810 he added 149 more; and (including Norfolk) his total of Virginia subjects The sequence which led to Barbour’s proud (but reached the prodigious number of 333 paintings. unprecedented) inclusion of these unknown projects The splendid likeness newly offered here is in his Richmond portrait of 1810 by Thompson is documented through the notation of “Col. James not hard to intuit. Jefferson would have drafted his Barbour” on one of the Richmond pages in the “proto-Barboursville” project probably when he was artist’s Memorandum Book of his portraits, working on his own domical submissions to the preserved at the Boston Athenæum (which is the White House competition, in the 1790s. Then Mills basis for the foregoing data). This previously began work as a teen-aged professional apprentice unlocated picture in fact forms a precise conceptual on that same project, and Jefferson demonstrably pendant to Thompson’s brilliant portrait of Andrew gave him free access to the collections of books and Stevenson (the next Speaker of the House after drawings at Monticello. Mills’ finished renderings of Barbour), now at the Fralin Museum of Art in the Jefferson’s domed projects are dated 1803; University of Virginia at Charlottesville. Judging from thereupon, having served their pedagogical purpose their nearly successive listings on the same as training exercises for Mills, they and their chronologically-annotated page—which, being the prototypes were returned to store. Meanwhile tenth leaf out of fifteen for Richmond, must have Jefferson’s much-admired younger colleague James been written in 1810—the two portraits are so Barbour, in a requested interlude between his nearly contemporaneous as to have been executed sessions of leadership in the Virginia House, had perhaps on the same day (certainly on immediately built an unremarkable house at Barboursville in successive days): they are jointly unique in showing 1807 (which still stands). Jefferson, retiring from the one of the sitter’s arms raised on a piece of White House in March of 1809, apparently stopped furniture—for Stevenson a “fancy chair,” for on his way home to see that house; we have clear Barbour a stylish sofa—with the hand displayed; the evidence that he must have been disappointed in it, two sitters wear similar coats (Barbour’s is cut for he sent Barbour this much grander project, identically with the one he wears in an 1808 which would have arrived just before the painter drawing by Saint-Mémin), even to the idiosyncrasy Thompson did, in Richmond. Barbour was of a bulge in the shoulder seam along the presumably ecstatic to receive such an exceptional silhouette; their neckwear matches exactly; their hair mark of favor from his political and personal hero; is in both cases (Stevenson’s very dramatically) 17 (detail) for he is shown not only with the painter’s rendering brushed high up above their foreheads; and in both of the prior Jefferson / Mills elevation, but also with paintings the background is a very closely similar a roll of other—presumably more recent—drawings, mottled monochrome. The Stevenson is exactly 2 including one of an Ionic Order with entablature inches shorter in both height and width, in its status (either being suggested by Jefferson for interior ornamentation, or indeed as an as a “close-up;” the Barbour is expanded on the top, bottom, and right side, for Ionic alternative for the severe Doric Order of the earlier façade). This triumphant the purpose of displaying the spectacularly important drawings that he had just portrait notwithstanding, Barbour’s family must have voiced their unhappiness received as marks of gratitude and favor from no less a source than his neighbor about leaving their brand-new house virtually before its paint was dry; and several Thomas Jefferson (1743-1826), who had just retired as third President of the busy years were to elapse (including Barbour’s Governorship of Virginia during the United States. War of 1812, and his election to the U.S. Senate) before Jefferson further obliged In a field as microscopically studied as Jefferson’s architecture (for he is now him with a revised project, which has heretofore been the only one known to recognized as nearly as great an architect as he was a statesman), it may appear exist. Those revised drawings on Jefferson’s habitual squared paper have always almost incredible that these project renderings for “one of [his] most beautiful and been dated to 1817, entirely on the strength of a letter of March 29th of that year successful creations” could be unknown, unsuspected, and unpublished; yet that in which Barbour reiterates his appreciation for the gift of the Jefferson project, indeed seems to be the case, since this painting has apparently spent its life and says “I have resolved on the plan you were good enough to [send] among private collectors lacking any specialized training in Jeffersonian me…”(emphasis added). That phrase clearly indicates that Barbour had been scholarship. The façade vignette which Thompson meticulously renders at right in offered a choice, perhaps in the form of the alternative Orders shown in the fact represents a “clean copy” of Jefferson’s heretofore unknown first project for painting (especially since they are so suggestive of the variety of Orders which the great house at Barboursville, redrafted as a study exercise by his 22-year-old Jefferson was even then imagining for the University of Virginia). But Jefferson’s disciple and protégé Robert Mills (1781-1855): it is exactly paralleled by the latter’s revised project for Barboursville shows a Tuscan Order—which Barbour may have finished drawing of another generic centralized project (as well as others of

specifically requested in the meantime—identical to both Monticello (whose thorough revision was executed in 1796-1809) and to his own country retreat at Poplar Forest (built in 1806-12). It has been recognized for over a century that the eventual, very grand house at Barboursville was a direct outgrowth of Jefferson’s thinking about Poplar Forest, and this new chronology makes it clear how that came about. The generic domed project had been offered to Barbour in 1809 or 1810, and included in this painting; Jefferson (always reluctant to make architectural decisions hastily) then crafted his “Tuscan” revision, doubtless to be dated no later than the second half of 1816, if not indeed somewhat earlier; it was executed exactly as in that final draft, in 1817-22. But Barboursville House stood intact for only a little more than 60 years, before a fire on Christmas Day 1884 destroyed its interior and roof; its walls and columns remain as “a splendid ruin,” and are now the centerpiece of the Barboursville Vineyards, who employ its noble image on their wine labels.

Acknowledgements: We are grateful to Dr. Douglas Lewis for first recognizing Barboursville House, and thereby the sitter in this portrait. We are particularly grateful for the sustained support of the National Portrait Gallery of the Smithsonian Institution in Washington, in clarifying its attribution: we would like to thank their entire professional staff, but most especially Deborah Sisum, Head of New Media and Publications, author of the study of Cephas Thompson’s Virginia portraits cited below; Linda Thrift, Keeper, Catalogue of American Portraits; and Dr. Ellen G. Miles, Curator Emerita, Department of Painting and Sculpture, for her cheerful willingness to master the many strands of evidence which have led to this result. References: Deborah L. Sisum, “A Most Favorable and Striking Resemblance”: The Virginia Portraits of Cephas Thompson,” Journal of Early Southern Decorative Arts, vol. 23:1 (Summer 1997), pp. 1-101; Charles D. Lowery, James Barbour, A Jeffersonian Republican, Tuscaloosa, 1984; Fiske Kimball, Thomas Jefferson, Architect, Boston, 1916, 2nd ed. with Introduction by Frederick Doveton Nichols, New York, 1968; J.M. Bryan, ed., Robert Mills, Washington, 1987.

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20. A French Gilt Brass Egyptian Society Sword, c. 1820s, narrow blade of hollow triangular section at the forte extending to a diamond section below the point, engraved gilt floral sprays near hilt, length 32 1/4 in.; shell inlaid, relief molded gilt brass hilt and guard, overall length 37 7/8 in. $800/1200 21. An American Classical Carved Mahogany Library Armchair, c. 1830, Boston, scrolled crest, padded back and arms with scrolled acanthus terms, tapered reeded legs, ball feet. $1200/1800

18. An Irish Mahogany and Satinwood Harp, of typical form with pyro-engraved Celtic knot designs, Waltons, Dublin, retailer’s label no. 1285, height 49 in., width 28 1/2 in., depth 18 in.

19. A Louis Philippe Gilt Brass Officer’s Helmet, c. 1820s, with tall acanthus molded crest, front plate with crown above Louis Philippe rooster roundel hung with banners, visor with laurel branches and crossed sapeur’s axes, chin straps with leaf swags, mounted to one side with vase issuing red, white and blue feather plume, height 13 1/2 in.

$1200/1800 Provenance: Estate of a New Orleans lady.

$1000/1500

22. An American Classical Carved Rosewood “Voltaire” Armchair, mid19th c., New York, school of Duncan Phyfe, arched crest with padded arms on saber legs and casters. $1000/1500

23. A Fine American Renaissance Ebonized, Gilded, Polychrome and Carved Walnut Easel, c. 1865, distinctive patinated metal wolf bust above adjustable back, well fitted case below, height 80 in., width 36 in. $2500/3500 24. An American Federal Carved Mahogany Étagère, early 19th c., Boston, four tiers, turned finials, third shelf fitted with a drawer, ring turned uprights, tapering legs, brass ferrules and casters, height 54 in., width 17 7/8 in., depth 16 5/8 in. $1000/1500 25. An English Carved Rosewood Canterbury, mid-19th c., lyre-carved dividers, turned spindled sides, base with drawer on bulbous turned legs ending in brass ferrules, casters, height 17 in., width 19 in., depth 14 1/2 in.

$800/1200 W 26. A British Arts and Crafts

Mahogany Stand, late 19th c., slat top, plain frieze, turned legs, height 17 1/8 in., width 29 1/4 in., depth 16 3/4 in. $250/500

27. A George III-Style Inlaid Mahogany Writing Cabinet, 19th c., superstructure with glazed door flanked by inlaid doors, fitted with shelves and drawers; the desk with three frieze drawers, fretwork bracketed legs, height 58 in., width 49 in., depth 23 in.

$1000/1500 28. A Pair of George III ChinoiserieDecorated and Carved Pole Screens, 18th c., each with bronze rod, scalloped screen, vasiform ringturned stem, incurvate triangular base with egg and dart molding, bun feet, height 62 7/8 in., width 14 1/2 in., depth 11 1/2 in. $1200/1800

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29. Eliab Metcalf (American/New York, 1785-1834, active New Orleans, 1819-1822), “Self Portrait as an Artist”, 1819, oil on canvas, unsigned, 30 in. x 24 in., period frame.

Louisiana—by the Brooklyn Museum’s Dr. John Haslett of 1822, in which his incipient Romanticism is even more strongly apparent. A superb pair of large paintings executed in June 1823 depict the NY merchant Harvey Weed and his spectacular wife Lucinda Squier Weed (both NYHS)—the latter exactly following the composition of Waldo’s Lucinda Mack, but clearly demonstrating the degree to which Metcalf had already surpassed his former teacher. A signed but undated large portrait of Dr. Theodoric Romeyn Beck, evidently of the early 1820s (sold in these rooms, 13 October 2001, lot 454), is the harbinger for the true masterwork of Metcalf’s Portrait of an Artist [Asher B. Durand] (NYHS), which he exhibited in the National Academy of Design in 1824: vibrant in conception and handling, sparkling in color, and Romantically captivating, this affecting image captures the almost unknown Durand at the conclusion of his first triumph, the engraving of John Trumbull’s Declaration of Independence. An archetypically Romantic Portrait of a Gentleman dated 1825 (art market, PA) may well be identical with the “Mr. Kettell” that Metcalf submitted to the Boston Athenæum, 1828 (no. 202).

$4000/6000 Provenance: The sitter’s wife, Anne Benton Metcalf; her eldest son, James Whiting Metcalf (1815-1856); his son James Betts Metcalf (1843-1896); his son Bryce Metcalf Sr. (1874-1951); his son Bryce Metcalf Jr. (1915-1984); by further family descent to the New York consignor; Doyle’s, New York, 29 November 2000, lot 21; by purchase to the present consignor. Note: Curiously named—after a series of Old Testament leaders—and prodigiously talented, Eliab Metcalf heretofore has been an overlooked figure in the early national school of American painting, though he was also the veritable founder of national portraiture in Cuba. Born 1785 in Franklin, MA and raised on his family’s farm, he completed the district school (c. 1803) already afflicted with consumption. Chancing to meet a native of the French island of Guadeloupe in 1807, he accepted M. Lauriel’s invitation to spend the following winter in the Caribbean. Upon his return in the spring of 1808, he recuperated from a recurrence of the disease with Dr. Dwight Post of New York, and took up his primary avocation of drawing. After a period of trading in the West Indies (other members of his family being ship owners) he traveled in 1810 to Nova Scotia, where he made silhouettes and miniatures. By 31 May 1814 he had set up a drawing studio in New York, working with John Rubens Smith (1775-1849) and especially Samuel Lovett Waldo (1783-1861), who first taught him to paint larger oil portraits. In 1814 Metcalf married Anne Benton (called Nancy), and their four children were born in 1815, 1818, 1819, and 1822. His friend John Vanderlyn (1775-1852) returned from England as a neo-classicist painter in 1815. Metcalf formed a strong relationship with the great John Trumbull (17561843), who also returned from England to become a Director (1816) and then President (1817-35) of the new American Academy of Fine Arts: in 1818 Eliab named his second son John Trumbull Metcalf. In September 1817 the artist noted in the NY Commercial Advertiser that he had “recovered his health” and was located at 152 Broadway, the studio he kept permanently. Another relapse persuaded Metcalf again to seek a warmer climate, and in the fall of 1819 he transferred to New Orleans, where an announcement of his arrival substantially earlier was published in the Gazette for 27 January 1820. During almost four years in New Orleans, he made only one overland trip back to New York. In the fall of 1822 he spent another four years in the Virgin Islands and Puerto Rico (where he painted the Governor). In 1826 he traveled with John Vanderlyn to Cuba, where he established a permanent studio; his many portraits there depict the higher levels of society. He routinely spent summers in New York and wintered in the islands; he died of consumption, apparently in Havana, on 15 January 1834. During his residences and his seasonal visits to New York Metcalf executed (to the best of present knowledge) only a dozen American paintings; and only a handful of his miniatures survive, as well. In 1819, on the eve of his departure for New Orleans, he signed and dated his first miniature, John McComb III (NY Historical Society), whose billowing hair and extroverted costume bespeak Metcalf’s strongly Romantic impulses. This was followed—evidently upon his return from

In such a context it is now possible to put the breathtaking picture offered here, Metcalf’s Self-Portrait as an Artist, into an appropriate perspective. The painter would have been 34 ½ years old upon his arrival in New Orleans, where his very dramatic flouting of the sartorial conventions of New York (with his yachting cap and bold buff-striped jacket, but with a waistcoat and ruffled shirt in the most metropolitan style) would have been highly appropriate. That his age has sensibly advanced beyond the Halifax period, though not enough to wrinkle his face, is proven by a comparison with a formal Self-Portrait miniature (early 1810s) apparently still with his family. His securely dated work most proximate to his arrival in New Orleans is of course his McComb miniature (painted, at the most, a few months earlier): all the unusual aspects of the present picture—its precision, the delicacy of its brushwork, and even the blondness of its tonality—are best understood through Metcalf’s preceding occupation as a miniature painter. 29

Indeed, as the first large-scale portrait in his oeuvre, this stunning picture was painted very soon after Metcalf’s arrival in New Orleans, specifically to be a pictorial surrogate for his wife and infant sons: in fact its unsigned status (an attestation superseded by its impeccable family provenance) clearly indicates that a signature would have been unnecessary, if not frankly intrusive. We have the exact analogy of John James Audubon, arriving in New Orleans not much more than a year later, preparing a series of black chalk drawings of himself for his wife Lucy. In addition to its strongly commemorative quality, Metcalf’s Self-Portrait (through its obviously empty palette) eloquently bespeaks the promise of a career just beginning. Above all, perhaps, its astonishing combination of precision and freedom, of sobriety achieved through brilliant color, indeed its intense seriousness masterfully balanced with pictorial extravagance, makes this compelling canvas one of the most significant discoveries in early 19th-century American painting to have come to the market in many years. References: Frick Art Reference Library, New York, photographs no. 35646 and 95689; Mortimer Blake, A History of the Town…, Franklin, MA, 1879, esp. pp. 169-171; Mantle Fielding, Dictionary of American Painters, New York, 1926 /1965, p. 239; G.C. Groce & D. H. Wallace, Dictionary of Artists in America 1564-1860, New Haven, 1957, pp. 439-40; Andrew C. Ritchie, American Art from Alumni Collections, Yale University Art Gallery, New Haven, 1968, pls. 25 and 26; Jules D. Prown, “The Rediscovery of America,” Art News 67:3 (May, 1968), pp. 30-33; Patricia Brady Schmidt, ed., Encyclopaedia of New Orleans Artists, 1718-1918, Historic New Orleans Collection, 1987, p. 261; Correspondence with Dr. Linda S. Ferber and Ms. Jillian Pazereckas, New-York Historical Society; National Gallery of Art, Washington, curatorial file for 1947.17.72, esp. notes by the late William P. Campbell (courtesy of Ms. Anne Halpern); William Doyle Galleries, New York, Auction Catalogue for 29 November 2000, lots 21-24.

30. William Louis Sonntag, N. A. (American, 1822-1900), “On the Potomac”, 1866, oil on canvas, signed, titled, and dated en verso of canvas, the support bearing a stencil stamp of “Theodore Kelley / Artist’s Colorman / No. 172 Greene St. N. Y.”; 11 3/4 in. x 19 3/4 in., in a period giltwood coved frame. $8000/12000 Provenance: Estate Collection. Note: This superb, gem-like canvas represents a considerable discovery in Sonntag scholarship, in light of its triple autograph documentation of signature, date, and location, as well as the stenciled provenance of its materials. To take the latter point first, there are only two other Sonntag canvases recorded with the imprinted name of Theodore Kelley of New York: one is a large Landscape at the collection of the Fine Arts Museum in Springfield, MA (Nancy D. W. Moure, W. L. Sonntag, Los Angeles, 1980, p. 130, no. 409, fig. 770); and the other a small study of a Fisherman by a Stream, ex-collection Baltimore Museum of Art, in 1980 with a dealership in upstate New York (ibid., p. 100., no. 32, ill.). Neither of these is inscribed with a date, nor provided with evidence of an early exhibition; but because of Theodore Kelley’s stamp, and the extreme closeness especially of the smaller canvas to the present middle-sized picture, both can now be assumed to be at least roughly contemporaneous with the painting offered here; perhaps, indeed, their canvases were all purchased (in three standard sizes) for Sonntag’s 1866 campaign. There are some ten compositions, among the unlocated subjects listed in Moure’s monograph (pp. 133143) only by title and date of exhibition, which might possibly represent this beautiful canvas. Using the broadest interpretation of Sonntag’s labels of time of day, scenery, and water, while assuming no more than a ten-year time lag before public exhibition, by far the likeliest candidate among these ten is Moure’s no. 320 (p. 143), A View Near Harper’s Ferry, Virginia, which had no early exhibition but is known to have been in a New England private collection in 1969. One other quite strong possibility is her no. 329, a View on the Potomac Below Harper’s Ferry; but that painting was definitely exhibited in 1865 at the annual exhibition of the National Academy of Design in New York, for it was noticed in The New York Times of 13 June of that year (p. 4, col 5). It is always possible, of course, that this “1866” inscription is the result of Sonntag’s ex-post-facto memory, and that his recollection was a year too late; but given the tumultuous events of the months in question, this is perhaps unlikely (especially since the Chrysler Museum’s Shenandoah is firmly inscribed “1865”). Whatever its exact title, this wonderful picture of the Blue Ridge just below Harper’s Ferry marks a significant moment in Sonntag’s oeuvre. Moure defines the decade of the 1860s as the painter’s “classic” period (pp. 23-29, 145), and this precisely rendered but mistily Romantic composition, with the human touches of its “camp” almost hidden at the right, and its two fishermen (a recurring motif in the painter’s work) at the exact center, epitomizes the controlled splendor of his style. This radiant work places Sonntag more firmly than ever among the most accomplished masters of mid-19th-century American Luminism.

31. James Campbell Noble, R.S.A. (English, 1846-1913), “Inner Canal, Dort”, oil on canvas, signed lower left, “Hawick Art Club May, 1943” exhibition label en verso, 24 in. x 20 in., in a giltwood frame. $1200/1800 Note: James Campbell Noble often painted Dutch landscape scenes and was known to have worked in Dordrecht, which was also called “Dort” in England.

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34. John James Audubon (American, 1785-1851), “American Flamingo”, Amsterdam edition, with “G. Schut and Zonen” watermark, sheet 39 3/4 in. x 26 3/4 in., attractively matted and framed. $700/1000 32 (1 of 4)

33 (1 of 2)

32. A Set of Four French Architectural Hand-Colored Engravings, depicting designs from the Palais de Fontainebleau, sight 12 in. x 15 in., sight 12 in. x 16 1/4 in., sight 11 1/2 in. x 17 1/2 in., attractively framed and matted alike. $800/1200 33. Two Hand-Colored Engravings, late 19th c., depicting architectural design of the Chapelle de la Trinité, at the Palais de Fontainebleau, sight 12 1/4 in. x 16 in. and 16 1/8 in. x 10 1/4 in., respectively, attractively matted and framed alike. $500/700

35. John James Audubon (American, 1785-1851), The Quadrupeds of North America, by J.J. Audubon and the Rev. John Bachman, published by V.G. Audubon, New York, 1854, 3 volumes, octavo, tooled full leather, with 155 plates after J.J. & J.W. Audubon, printed and colored by J.T. Bowen and Nagel & Weingaertner. Note: One spine restored. $2000/3000 Provenance: Succession of Harry T. Howard III, New Orleans, LA.

W 36. John Gould (English,

1804-1881), “Amazilia Alticola” and “Thaumatias Brevirostris”, two hand-colored lithographs from A Monograph of the Trochilidae, or Family of Hummingbirds, 1849-61, each sight 20 1/2 in. x 13 1/2 in., framed alike. $800/1200 37. John James Audubon (American, 1785-1851), “Evening Grosbeak”, Plate 373, hand-colored aquatint engraving, from Birds of America, Havell edition, watermarked “J.Whatman/ 1837”, sheet 39 1/4 in. x 26 1/8 in. $1500/2500 37

W 38. Sidney Pike (British, 1846-

W 40. A Large English Aesthetic

1907), “Birch Tree by the Stream with Grazing Cows”, 1900, oil on panel, signed and dated lower left, The Lafayette Gallery, Baton Rouge label en verso, 17 1/4 in. x 11 3/4 in., gilt frame.

Movement Transferware Platter, 1882, London, PB&S, reserved with a “postcard” of Trafalgar Square and birds frolicking amid foliage, brown transfer with hand-painted polychrome decoration, marked, length 18 1/8 in., width 14 5/8 in.

$700/900

$250/350

W 39. A Set of Four Minton-

Style Porcelain Lidded Urns, pâte-sur-pâte style decoration of cherubs in various pursuits on a black ground, gilt and polychrome decoration, spurious marks, height 14 3/4 in.

41. A Pair of Continental Gilt and Patinated Bronze Candlesticks in the Classical Taste, 19th c., with three nozzle oil lamp candle cup, foliate shaft, supported by three recumbent sphinxes on tripod base, height 10 3/4 in., width 5 3/4 in., depth 5 3/4 in.

$1200/1800

$500/750

42. A French Polychrome Porcelain Allegorical Figure of Africa, 19th c., female figure decorated with coral beads holding a quiver of arrows, resting on naturalistic base with lion and an elephant, height 14 1/2 in. $1800/2500 43. A Pair of Paris Porcelain Polychrome and Gilt-Decorated Floral Urns, early 19th c., mark “...y/ Paris” probably Dagoty, with finely painted gilt borders framing differing reserves of baskets of flowers set on marble top tables, the reverses with bouquets, gilt anthemion scroll handles with fine ram’s head terms, on square gilt decorated plinths, height 13 1/2 in. $2000/3000

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46. A Tiffany Sterling Silver Repoussé Water Pitcher, mark “T” used between 1891 and 1902, repoussé chased floral decorated panels alternating with plain swirl flutes covering bulbous body and lower portion of the neck, hollowcast handle with modified decoration, height 8 1/2 in., weight 28.95 troy ozs.

$3000/5000 47. A Large American Sterling Silver Cake Basket, D. Buchanan & Son, Inc., Richmond, VA, c. 1890, reticulated floral design, oblong form with a swing handle and raised on four cast openwork scroll supports, height 11 3/4 in., width 14 1/2 in., depth 10 1/4 in., weight 39.10 troy ozs.

44. A Pair of English Gilt Bronze Candlesticks, c. 1825, stork form, height 9 1/4 in. $700/1000 45. An English Victorian Calamanderwood Lady’s Lap Desk, 19th c., slanted lid, gilt tooled leather writing surface, interior fitted with letter box and three secret drawers, satinwood interior, height 6 1/2 in., width 15 1/4 in., depth 10 1/2 in. $400/600

$2000/3000

48. An American Sterling Silver-Mounted Cut Glass Centerpiece Bowl, c. 1910, oval form mounted with everted silver rim, scrolling foliage and flowers, reeded band on rim, height 3 1/2 in., width 16 3/4 in., depth 12 3/4 in. $1500/2500

49. A Fine American Coin Silver Repoussé Pitcher, Bailey & Co., Philadelphia, wc. 1848-1878, vase shaped with floral swag repoussé, foliate scroll handle and stepped foot, height 13 in., weight 22.95 troy ozs.

$800/1200 50. Ten American Sterling Silver Napkin Rings, by various manufacturers including several by Gorham, embossed designs of the late 19th c. including one “Medallion”, most width approx. 2 in., combined weight 16.75 troy ozs.

$1200/1800 51. A Tiffany & Co. Sterling Silver Coffee and Tea Service, 20th c., comprised of a coffee pot, teapot, creamer, open sugar bowl and waste bowl; the coffee pot and waste bowl Tiffany & Co. Makers; the sugar bowl, creamer and teapot Ellis Jacob Greenberg, London, 1928, ret. Tiffany and Co., coffee pot height 9 1/2 in., combined weight 51.95 troy ozs.

52. A Continental Sterling Silver Figural Group, depicting a youthful standing figure of Bacchus and Pan, height 9 5/8 in., weight 44 troy ozs. $2000/3000 53. A Monumental Gorham Sterling Silver Repoussé Encrier, with Gorham date mark for 1887; presentation inscription “WM. TOD HELMUTH/Xmas 1887”, floral repoussé, gadrooned borders and beading throughout, lobed feet, vaseline glass insert, height 7 1/2 in., length 14 in., depth 10 1/2 in., weight 51.25 troy ozs.

$1500/2500

$2000/3000 52

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56. A Fine and Rare George III Carved Mahogany Tilt-Top Supper Table, c. scalloped top with dished roundels, turned columnar stem, arched cabriole legs, pad feet, casters, bears “Nat Ross Cork Ireland” storage label, height 29 in., diameter 29 in. $1500/2500 W 57. A Provincial

Louis XVI Fruitwood Vide Poche, galleried top, quatrefoil pierced sides, slender cabriole legs, height 31 in., width 20 in., depth 12 3/4 in. $600/900

54. A Pair of Rococo-Style Silverplate Five-Light Candelabra, acanthus and floral candlecups with naturalistic foliate drip pans, foliate scrollwork candlearms, baluster-form shafts with floral and acanthus decoration, scalloped bases, height 27 1/2 in. $1500/2500

55. A Georgian Sheffield Plate Hot Water Urn, 18th c., two-handled ovoid form with rococo cartouche, ivory handle on acanthus decorated spigot, the cover with adjustable sliding flame twist finial, on pedestal base with reticulated frieze, scroll feet, original fused plating, height 21 in. $1200/1800 Provenance: Estate of a New Orleans Lady.

58. A Rare Pair of American Gilt Bronze Figural SixLight Candelabra, c. 1840-1850, attributed to Cornelius & Co., Philadelphia, iron weighted bases marked “C & Co.”, richly foliated crown of candlecups supported by a figure of Flora, over exuberant scrolls enclosing shepherd figures, height 26 3/4 in. $3000/5000 Reference: Jones, J. Kenneth Jones. “Cornelius and Company of Philadelphia”. The Magazine Antiques (December 1983), vol. CXXIV, no. 6, pp. 1218-1222.

59. An English Regency Sterling Silver Hot Water Pot on Lampstand, marked London, 1822, maker IH, baluster-form body with gadroon and shell decoration, engraved crest depicting paired arms with daggers, hinged cover, circular lobed finial, pot retains original gadrooned base with burner on lion’s paw feet, original pearwood handle, height 10 1/2 in., weight 46.90 troy ozs. $1500/2500

60. A Rare American Carved Mahogany Convertible Desk and Chair, c. 1854, attributed to Stephen Hedges, New York, oval foldover top with inset leather writing surface, mechanical case opening to reveal a chair, desk interior fitted with a drawer, all on cabriole legs, casters, panels with ripple molding, height 29 1/4 in., width 35 1/8 in., depth 27 in. $3000/5000 Note: Several examples of this patented desk are known, including examples conserved at Gallier House, New Orleans, LA; the Museum of the City of New York; the Morris-Jumel Mansion, New York. Another example from the collection of Dr. George Crozat, Houmas House, Burnside, Louisiana, was sold onsite by Neal Auction Company, lot 329, May 2003.

61. A Good American Classical Carved Mahogany Server, mid-19th c., cornucopia scrolled backsplash, two drawers over paneled doors, acanthine columnar uprights, plinth base, turned feet, with old “Florey Bros.” Washington, NJ, conservator label en verso, height 53 1/4 in., width 47 in., depth 22 in. $1000/1500 62. A Pair of American Gothic Carved Rosewood Hall Chairs, mid19th c., crocketed cathedral back, square legs, casters. $600/900

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63. An American House of Representatives Carved Oak Desk, c. 1856, attributed to Doe Hazelton & Co., Boston, brass tag labeled “100/E”; galleried top centered by a Federal crest, slant front writing surface with lift top and bracket supports, trellised screen and low shelf, volute feet, height 36 in., width 29 1/2 in., depth 20 1/2 in. $8000/12000 Note: This desk follows a design by Thomas Ustick Walter for the House of Representatives Chamber in use after 1857. Desks in the chamber were of two forms: a twocompartment desk and a single seat desk such as the lot featured here. Chairs for the U.S. House Chamber had already been ordered from the Bembe and Kimball firm of New York when Montgomery Meigs, who supervised the construction of the wings and dome of the Capitol from 1853 to 1859, sent images of the chair design to the Doe Hazelton firm of Boston for construction of 262 of the accompanying desks. The desks were in use until 1873 when they were gifted or sold to Congressmen. An illustration of the United States House Chamber in the March 1865 edition of Frank Leslie’s Illustrated News announcing the passage of the 13th Constitutional Amendment abolishing slavery, depicts a desk like the one seen here in detail. Historic House of Representatives desks have been sold at Neal Auction including lot 686, sold June 11, 2005; lot 321, sold January 30, 2010; and lot 304, sold April 21, 2012. Reference: http://www.rarevictorian.com

64. An Edwardian Carved Mahogany Desk, inset leather top with gadrooned molding, kneehole configuration of drawers, shell-carved ball and claw feet, height 30 in., width 54 in., depth 29 7/8 in. $1000/2000 65. John James Audubon (American, 1785-1851), “Fish Hawk or Osprey”, Plate 288, chromolithograph, Bien edition, from Birds of America, 1860, attractively matted and framed, sheet 39 1/4 in. x 26 3/4 in. $1800/2500

66. A Pair of Antique English Painted Figural Dummy Boards, in the form of Elizabethan children, height 40 in., width 18 in. $1000/1500 67. [Battle of New Orleans], “Battle of New Orleans and Death of Major General Packenham on the 8th of January 1815”, after William Edward West, engraved by J. Yeager, 1817, plate 16 in. x 20 3/4 in., framed. $1200/1800 68. John James Audubon (American, 1785-1851), “Wood Ibis”, Plate 216, hand-colored aquatint engraving, from Birds of America, Havell edition, watermarked “J.Whatman/1836”, sheet 37 3/4 in. x 25 in., framed. $30000/50000

69. After Francois Auguste Biard (French, 1799-1882), handcolored stiple engraving by C.E. Wagstaff “Scene on the Coast of Africa” published 1844 London, in elaborate molded frame with title “Slavery Abolished on the British Do...(probably Dominion)”, sight 35 1/2 in. x 40 1/2 in. $1500/2500

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70. A Henri I, King of Haiti Polychrome and GiltDecorated Bone China Plate, c. 1815, Spode, Kakiemon pattern, reserved with the arms of Henri I (reigned 1811-1820), featuring a shield charged with a phoenix surmounted by a royal crown, evocative of the King’s motto “Je renais de mes cendres”, diameter 8 1/8 in. $700/1000 72

Note: Henri Christophe (1767-1820), a former slave and general in the Haitian Revolution, reigned as Henri I, King of Haiti, from 1811 to 1820. He is known for his ambitious construction projects, notably Sans Souci Palace, which was considered one of the most magnificent structures in the West Indies, and the mountaintop fortress, Citadelle Laferriere, both of which are UNESCO World Heritage Sites. Henri Christophe established a Haitian nobility. The motto aforementioned in French translates “I am reborn from my ashes.” A plate from the Henri Christophe Spode service is in the collection of the Victoria and Albert Museum.

71. An Antique French or Spanish Colonial Silver Spoon, late 18th/early 19th c., triple struck marks untraced; with eggshaped bowl, fiddlethread handle and engraved crest of Henri I of Haiti, length 8 1/8 in., weight 2.60 troy ozs. $200/400 72. A Colonial Coin Silver Cup, probably Caribbean, c. 1800-1810, unmarked, seamed cylindrical form with molded rim and foot bands, bright cut engraved borders and reserved with script initials “CR” for “Christophe Rex” (Henri Christophe), flat handle, height 3 7/8 in., weight 8.20 troy ozs. $500/750 73. A Very Rare Antique Colonial Hand-Hammered 12 Kt. Yellow Gold Ring, early 19th c., mounted with three cannons, evocative of Henri Christophe’s famous cannons at Citadelle Laferriere. $1000/1500 74. An American Rococo Coin Silver Repoussé Presentation Pitcher, James Conning, wc. Mobile 18401872, marked “J. CONNING” in rectangle, c. 1850, inscribed “F.B. King to B.F. King”, floral and scroll repoussé with shield under spout, distinctive openwork feet, height 10 1/4 in., weight 22 troy ozs. $7000/10000

75. An American Apothecary Box, 19th c., interior fitted with 13 blown glass bottles with stoppers and one square bottle labeled “Quinine”, brass bail handles, box height 9 1/2 in., width 13 in., depth 9 in., bottle heights from 3 3/4 in. to 6 in. $700/1000 75 76. An American Coin Silver Presentation Pitcher and Salver, Haddock, Lincoln & Foss, Boston, wc. 18571865, presentation inscription “Newton Talbot Esq/from Members of the/Second Society of Universalists/ Boston/in appreciation of his long-continued and valuable services/and in token of their Personal esteem/ January 14th/1868”, height 10 in.; the circular salver with gadrooned border, chased well centered by handsome strapwork monogram, “NT”, diameter 10 in., combined weight 49.45 troy ozs. $2000/3000 Note: The Second Society of Universalists (Cambridge, MA) was organized in 1823 77 and held their last church service in 1907. Newton Talbot (1815-1904) was a prominent Boston businessman and member of the church who also served as a trustee of Universalist-founded Tufts College from 1868 to 1904. Talbot published The Flag of Our Union, a weekly featuring works by Louisa May Alcott and Edgar Allen Poe.

77. An American Coin Silver Ceremonial Trumpet, mid-19th c., unmarked, probably New Orleans or Mobile, presentation inscription “Capt. Myers/Steamer OREGON/Trip from New Orleans to Mobile/Sept. 16’/55”, chased and engraved decoration, height 15 1/2 in., weight 17.75 troy ozs. $8000/12000 Note: The presentation inscription commemorates Capt. Myers’ steering the Oregon safely through the hurricane of September 15-16, 1855. A marine report in The New-York Daily Times, October 1, 1855, advises that the schooner Oregon had a heavy blow of wind the night of September 15 on her voyage from Sabine Pass to New Orleans. Interestingly, Captain Myers was still with the Oregon in the early years of the Civil War. The Mobile Register of June 28, 1861 describes his attempt the previous day to run the federal blockade at Deer Island. Ceremonial trumpets first appear as a form of presentation silver in recognition of the contributions of the volunteer fire company. Its origins are in the utilitarian horn used to call out the cadence to a team of men hand-pumping fire engines to create water pressure. Although most commonly referred to as “fireman’s trumpets”, ceremonial trumpets were also presented for acts of valor unrelated to a fire company. For an exceptional example of this form, see the 1857 New Orleans Fire Department trumpet by Christoph Christian Kuchler, now in the collection of the Louisiana State Museum. Another good example, by Lincoln & Foss, Boston, 1856, is in the Collection of the Historic Mobile Preservation Society, and is illustrated in Marks of Achievement: Four Centuries of American Presentation Silver, pg. 102. See also two examples which are shown in the wonderful New Orleans painting, “Volunteer Fireman’s Parade” by Victor Pierson (active New Orleans, c. 1856-1873) and Paul Poincy (1833-1909), now in the collection of the Louisiana State Museum. Reference: Warren, David B. et al. Marks of Achievement: Four Centuries of American Presentation Silver. pgs. 77-78 and 102-103; Pennington, Estill C. Downriver: Currents of Style in Louisiana Painting 1800-1950. pgs. 126-128.

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80. A Tennessee Coin Silver Soup Ladle, Edward Raworth, Nashville, wc. 18081820; fiddle handle, length 12 1/2 in., weight 5.90 troy ozs. $1000/1500 Exhibited: MESDA. Provenance: Collection of Steven Cabot Barnes Harvey. Reference. Caldwell, Benjamin H. Jr. Tennessee Silversmiths, pgs. 140-141; mark and identical example illustrated p. 141, fig 107a and 107b.

78. A Kentucky Coin Silver Julep Cup, Asa Blanchard, Lexington, act. c. 1808-1838, slightly tapered form with molded rims, height 3 1/4 in. weight 4.95 troy ozs.

81. A Rudolph T. Lux Nathaniel P. Banks Porcelain Breakfast Cup and Saucer, the latter inscribed “Major General/ N.P. Banks/ April 14, 1863” and with extensive list of campaigns, the cup inscribed “E Pluribus Unum” and “Painted and Decorated by Rudolph T. Lux, N.O. La./ May 1863” and both portrait vignettes also signed, saucer diameter 9 1/8 in., cup height 3 1/4 in.; together with a bill of sale and Banks biography.

$3000/5000 Provenance: Collection of Steven Cabot Barnes Harvey.

$3000/5000

Reference: Boultinghouse, Marquis. Silversmiths of Kentucky, 1785-1900, pgs. 69-79, mark illustrated p. 299, no. 29D.

79. A Mobile Coin Silver Cruet Stand, ret. J. Conning, wc. 18401872, made by Wood & Hughes, New York, wc. 1845-1899; oval with reticulated gallery, molded plinth, reticulated scroll and shell feet, weighted central handle with branchwork, acorn and oakleaf, height 9 in., length 8 1/2 in., depth 6 1/2 in., weight (base only) 16.60 troy ozs. $1000/2000 Provenance: Collection of Steven Cabot Barnes Harvey.

82. A Fine Confederate Cavalry Officer’s Saber, blade marked “Dufilho/N. Orleans”, etched blade with “C.S.” and foliate and star motifs, wire wrapped leather grip, rare multi-branch guard, scabbard with foliate and gadrooned mounts and drag. $20000/30000 Reference: An identical scabbard is shown matched with a Conning officer’s sword in William A. Albaugh, A Photographic Supplement of Confederate Swords, 1999, Broadfoot Publishing, pg. 51.

83. A Confederate Naval Cutlass by Thomas Griswold, New Orleans, stamped “T.G. & Co./N.O.”, fish scale grip, eagle pommel, circular slot on top of grip for knot. $3000/5000 83

84. [Civil War Atlas], Atlas to Accompany the Official Records of the Union and Confederate Armies, published under the Direction of the Hons. Redfield Proctor, Stephen Elkins and Daniel Lamont, Secretaries of War, compiled by Capt. Calvin Cowles, Government Printing Office, Washington, 1891-1895, lithography by Julius Bien & Co., NY, in original 35 parts, with paper titled covers, folio board, with 175 double-page maps, views and illustrations, each 18 1/2 in. x 29 1/2 in.

$3000/5000 85. A Rare Mississippi Combination Percussion Rifle/ Shotgun by Louis Hoffman c. 1850, marked “Louis Hoffman, Vicksburg Missi” on top of barrel, curly maple stock with brass patch box, engraved water fowl hunting scenes on lockplates by Josh Golcher, brown finish to barrels, length of barrels 28 in. $7000/10000 Note: Louis Hoffman was one of the main gun suppliers to the Confederacy. When Vicksburg fell to the Union he was put on trial for arming the “insurgents”. 86. A Pair of New Orleans Percussion Dueling Pistols, c. 1830, barrel marked “J & W Astol. Agents”, lockplate marked “New Orleans”, brass furniture, with steel ramrods, length of barrel 5 in.

87. A Fine English Flintlock Dueling Pistol, Hyde & Goodrich, New Orleans, ret., c. 1825, octagonal barrel marked “Hyde & Goodrich”, lockplate marked “Hollis Brothers, London”, checkered grip, floral engraved and gold inlay decoration, length of barrel 10 in. $2000/4000

$3000/5000 W denotes the lot is illustrated at www.nealauction.com

88. A Fine English Percussion Dueling Pistol, c. 1825, ret. Hyde & Goodrich, New Orleans, by Richard Hollis & Sons, London, the damascus steel octagonal barrel marked “Hyde & Goodrich”, checkered grip, engraved lockplates and trigger guard, length of barrel 9 1/2 in.

91. Confederate Tower Pattern 1853 Percussion Musket, lock marked with a crown and “TOWER”, British proof marks on barrel, trigger guard marked “LSM” (Louisiana State Militia), walnut stock carved with initials “EC”, sling swivels, 39 inch round barrel, iron ramrod, now bent.

$2000/4000

$800/1200

Provenance: Greenwood Plantation, Pinckneyville, MS. By family repute, the musket was thrown down the plantation’s well so General Butler’s troops could not capture it, bending the ramrod in the process. W 92. A Jefferson

Davis Autograph Grouping, including a CDV, backstamp of E. & H.T. Anthony, New York; an autograph signed note: “Chas. Wood Esq./ Sir / I have the honor to be very truly and respectfully yours, Jefferson Davis”; and another card with a short notation, presented matted and framed.

$600/900 W 93. [Confederate Ephemera

90 (1 of 2)

Grouping], including: one page manuscript signed by J. H. Wingfield, Capt., C.S.A., dated from Tangipahoa, May 13th, 1862, detailing a list of ordinance received from the Confederate State Artillary; together with a one page manuscript poetic tribute to Captain Prescott of the 2nd Louisiana Colored Troops, who apparently lost his life during a charge of Port Hudson in 1863; together with four Confederate notes, presented in three frames. $600/900 W 94. [Louisiana

89. A Lefaucheux Pinfire DoubleBarrel Shotgun, retailed in New Orleans, c. 1865, marked in inlaid gold “Lefaucheux’s Patent”, frame marked “C.R. Stevens & Cie., New Orleans”, foliate-engraved furniture, damascus steel barrel length 30 1/4 in. $1000/2000

90. A Confederate Staff Officer’s Sword, by Thomas Griswold, New Orleans, script “C.S.” amongst branches and panoply of flags, old replaced blade; together with a Nathan Starr Model 1798 Cavalry Sword, marked “US/1799” on the ricasso, iron guard, wood grip. $1200/1800 Reference: The script “C.S.” sword is illustrated in William A. Albaugh, A Photographic Supplement of Confederate Swords, 1999, Broadfoot Publishing, pg. 163.

Volunteers] An English Pewter Tankard of Civil War Interest, with glass bottom, marked “Pint”, inscribed “The Hermitage/Presented by/ Lieut. G. Lever/17th L.A.V./won by/Lieut. Duranty/June 1864”, height 5 1/4 in. $600/900

98. A Louisiana Cypress Table, early 19th c., overhanging plank top, square tapered legs joined by straight apron, height 29 in., width 47 in., depth 33 1/2 in.

95. A Tennessee Coin Silver Creamer, J.S. Curtis, c. 1850, Memphis, marked “J.S. Curtis” in a rectangle, with C-scroll handle, wide band of stylized foliate decoration and stepped foot, engraved “AA Wheelock”, height 6 1/4 in., weight 11.05 troy ozs. $2500/3500

$1200/1800 Provenance: Purchased from the Estate of Marjorie Walters.

W 96. A Tennessee Coin Silver Soup Ladle, Hope

& Miller, Knoxville, c. 1870, marked “HOPE & MILLER” and with Masonic emblem (also used by David Lange Hope); fiddle typt handle; length 11 7/8 in., weight 4.90 troy ozs. $500/750 Provenance: Collection of Steven Cabot Barnes Harvey. Reference: Caldwell, Benjamin. Tennessee Silversmiths, p. 112.

97. A Pair of American Coin Silver Julep Cups, maker Geertsema untraced, early 19th c.; seamed construction, applied foot and rim bands, one engraved “Matilda King”, height 3 1/8 in., weight 7.30 troy ozs.

$2000/3000 Provenance: Descended in the family of Matilda King (1819-1846) through her sister Caroline King Irion (1836-1878) of Eola Plantation, Avoyelles Parish, LA. Their grandfather, General John Edwards King (1757-1828), was a Virginian who fought at the Battle of New Orleans and was appointed judge of the Attakapas District by Gov. William C.C. Claiborne. Family tradition is that these cups came from Virginia.

99. An American Classical Carved and Gilt-Stenciled “Fancy” Chair, 1815-1820, possibly John Banks, New York City, tablet crest, cornucopia slat, cane seat, legs ending in paw feet. $700/1000

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100. Jacques Guillaume Lucien Amans (French, 1801-1888, active New Orleans, 1836-1856), “Portrait of Jeanne Roman (1836-1889) Holding a Dove, Daughter of Aimée Françoise Parent (b. 1797) and Louisiana Governor André Bienvenu Roman (1795-1866)”, c. early 1840s, oil on canvas, signed lower right, 30 in. x 24 1/4 in., antique gilt frame. $15000/25000 Provenance: From the sitter to her daughter, Anna Jeanne de la Villebeuvre Hyman; thence by descent in the family. Note: Considered the most important portrait painter in New Orleans from the 1830s to the 1850s, Jacques Amans received commissions to paint the most prominent families of the region. André Bienvenu Roman (1795-1866) was the ninth governor of Louisiana. Born near Opelousas, his family later moved to St. James Parish and established Cabahanoce Plantation on the Mississippi River. In 1816, Roman married Aimée Françoise Parent; the couple had five children and made their home at Cabahanoce Plantation, which was located near Bon Sejour (now known as Oak Alley Plantation), the property of Governor Roman’s brother, Jacques Telesphore Roman, and near Le Petit Versailles, the plantation of Governor Roman’s sister and brother-in-law, Josephine Roman and Valcour Aime. Like his brother and brother-in-law, Roman was a successful sugar plantation owner; however, he also began a career in politics from an early age. Roman was elected to the Louisiana House of Representatives in 1818 at the age of 23 and served two terms as the governor of Louisiana; the first from 1831-1835. He lost his bid for reelection but later ran successfully for the office and served from 1839-1843. These charming portraits of Jeanne Roman (1836-1889), lot 100, and Robert Roman (1830-1855), lot 101, were most likely painted around 1840-42, during André Bienvenu Roman’s second term as Governor of Louisiana. In her portrait, Jeanne stands quietly in three-quarter length, wearing a white ruffled gown that is

beautifully depicted by Amans. In her arms, she holds a white ringneck dove, a type of bird native to Africa. Ringneck doves have been bred in captivity for thousands of years and were popular pets in Europe in the early 19th century; it is fitting that Jeanne’s rare and likely expensive pet would be featured in her portrait. Paintings of this era often included symbolism to highlight the child’s innocence, as opposed to earlier styles of children’s portraits, which pictured children as miniature adults. Both Jeanne’s white dress and her pet dove emphasize her purity and innocence. The dove’s reputation as a sweet and docile creature perhaps serve as a metaphor for Jeanne’s disposition. The highly developed landscape in the background of Jeanne Roman’s portrait is rare in the oeuvre of Amans and indicates that he was likely at the family plantation, Cabahanoce, when the portraits were painted as opposed to his studio in New Orleans. A stand of trees is on the left with the river winding behind Jeanne, the plantation with an active smoke stack indicative of a sugar mill along its banks on the right. This is not the first instance of Amans working on family portraits on location at a plantation house; according to John Burton Harter and Mary Louise Tucker, “one of Amans’ first important commissions was to paint the portraits of the Valcour Aime Family, cousins of the Romans.” Louisiana Portraits illustrates Jacques Amans’ portraits of Valcour Aime and his wife and their Continued p. 31

101

101. Jacques Guillaume Lucien Amans (French, 1801-1888, active New Orleans, 1836-1856), “Portrait of Robert Roman (1830-1855) Holding a School Slate Board, Son of Aimée Françoise Parent (b. 1797) and Louisiana Governor André Bienvenu Roman (1795-1866)”, c. early 1840s, oil on canvas, signed upper left, 30 1/4 in. x 25 1/4 in., antique gilt frame. $15000/25000 Provenance: From the sitter to his sister, Jeanne Roman de la Villebeuvre; to her daughter, Anna Jeanne de la Villebeuvre Hyman; thence by descent in the family. daughters Félicie Aime (1825-1858) and Félicité Emma Aime (1823-1905). A sketch of Jeanne’s oldest brother, Charles, exists from the same time period, c. 1836, and is illustrated in the Louisiana State Museum’s Louisiana Portrait Gallery book. It is thought that perhaps Amans drew this likeness during Charles’ visit to his uncle and aunt’s plantation, Le Petit Versailles. Robert Roman is also depicted in fashionable 1840s children’s clothing, his striped trousers and a shirt with a ruffed collar elegantly depicted. However, unlike Jeanne, Robert’s portrait is an indoor scene; he sits, looking out at the viewer, apparently interrupted in the act of a scholarly pursuit. The inclusion of his slate, although not common in Amans’ works, is not exclusive to this portrait. In a later work by Amans, a portrait of Henry Antoine and Charles L. Boudousquié, the artist employs the same slate and hand positioning. Although Robert is older than Jeanne and occupied in a more active role in his portrait, the same appearance of wide-eyed innocence can be viewed in this delightful painting. Robert Roman passed away as a young man of twenty five, yet his childhood portrait provides us with insight into his early life and became a cherished heirloom in his sister Jeanne’s family, passed down along with her own portrait. The painting of Jeanne Roman is one of the finest examples of a Jacques Amans portrait of a young girl. Stylistically, it is similar to the portrait of Jeanne’s cousin,

Félicie Aime, from 1836, which also depicts the sitter in three-quarter length with a landscape background. Amans’ portraits of Clara Mazureau of 1838 and of Elizabeth Bryan Pugh of 1851, depict a similar composition of a three-quarter length view of the sitter with a landscape background. However, in the portrait of Jeanne Roman, the inclusion of details such as the sugar refinery on the Roman family’s plantation and Jeanne’s pet dove add an enchanting personal element not found in Amans’ related portraits. Jeanne married Eli Victor Farault de la Villebeuvre (1829-1889) in New Orleans on December 20, 1852. De la Villebeuvre’s father was the owner of the Hurst-De la Villebeuvre Plantation house. Built by Cornelius Hurst, a wealthy businessman, in 1832, the house was originally sited at what is presently the corner of Tchoupitoulas and Joseph Streets. Hurst went bankrupt in 1837 and sold the plantation to Jean Ursin de la Villebeuvre II (1802-1881) who owned the property until 1859. The house was moved in 1922 to No. 3 Garden Lane where it stands today in a beautifully restored state of preservation. Reference: Louisiana Portraits, New Orleans: The National Society of the Colonial Dames of America in the State of Louisiana, 1975. Louisiana Portrait Gallery, Volume 1-to 1870, Louisiana State Museum, 1979. New Orleans Architecture Vol. VIII: The University Section, New Orleans: Pelican Pub., 1997. Toledano, Roulhac, The National Trust Guide to New Orleans, p. 152.

W denotes the lot is illustrated at www.nealauction.com

103. A Set of Six American Painted “Fancy” Chairs, early 19th c., probably Baltimore, original paint, tablet crest, turned uprights, vasiform splat, caned seat, turned legs joined by stretchers. $800/1200 104. An American Southern Carved Cherrywood and Pine Apothecary Cabinet, c. 1830, upper case with molded cornice over glazed doors, shelf interior, 16 fitted small drawers below; lower case with foldover working surface, two drawers now with single eagle brasses, over paneled doors, turned feet, height 88 7/8 in., width 52 in., depth 20 in. $1800/2500 102

103

102. An American Federal Inlaid Walnut Hunt Board, 19th c., Southern, rectangular top over three drawers, square tapered legs, height 36 in., width 41 1/2 in., depth 22 in.

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$1000/1500

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105. An American Carved Walnut Plantation Desk, mid-19th c., Southern, upper case with hinged cornice opening to fitted interior, two fitted cabinets flanking a single drawer and shelf; lower case with slant top, inset leather writing surface, two frieze drawers, turned and faceted legs, height 57 5/8 in., width 43 in., depth 33 in. $1200/1800

106. A Fine American Late Classical Carved Mahogany Rocking Chair, c. 1835, Boston, shaped crest, padded arms, molded saber legs, rockers, height 44 in. $1200/1800

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109

108

108. [Cased Images], Edward Jacobs (American/New Orleans, 18131892), two ambrotypes of “Ninth Louisiana Governor André Bienvenu Roman and his wife, Aimée Parent Roman”, embossed signatures in the brass mats, each sight 4 1/2 in. x 3 3/8 in., one in a leather case. (2 pcs) $1000/2000 107

107. [Cased Images], F. Moissenet (American/New Orleans, mid-19th c.), two daguerreotypes including “Jeanne Roman de la Villebeuvre, Daughter of Louisiana Governor André Bienvenu Roman and Aimée Parent Roman”, and “Eli Victor Farault de la Villebeuvre, husband of Jeanne Roman”, each hand-colored, photographer’s name embossed in velvet interior of case, each three-quarter plate, sight 3 1/2 in. x 2 5/8 in., each in a leather case. (2 pcs)

Provenance: Descended in the family of the Ninth Governor of Louisiana, André Bienvenu Roman (1795-1866). 109. A Fine Pair of Napoleon III Gilt and Patinated Bronze Urns, mid-19th c., with finely cast foliate ornament, mounted on tall pedestals, paw feet, height 14 1/2 in., diameter 6 1/2 in. $2500/3500 Provenance: Descended in the family of the Ninth Governor of Louisiana, André Bienvenu Roman (1795-1866).

$1000/2000 Provenance: Descended in the family of the Ninth Governor of Louisiana, André Bienvenu Roman (1795-1866). W denotes the lot is illustrated at www.nealauction.com

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110. Nicolas de Fer (French, 1646-1720), “Partie Meridionale de la Riviere de Missisipi et ses environs, dans l’Amerique Septentrionale...”, 1718, Paris, chez J.F. Bernard, copper-plate engraved map, outline color, laid paper, with watermark of “A.T.” and a necklace, with numerous illustrations of animals, ships, Indians and their villages, neat line 18 1/4 in. x 25 1/4 in., sheet 20 in. x 28 3/4 in., framed. $3000/5000 111. Henry Popple (d. 1743), “Nouvelle Carte Particuliere de l’Amerique... Caroline Meridionale, la Floride, la Louisiane, le Mexique, le Jucatan, le Guatimala, le Darien, & une Partie de Cuba”, 1742, Amsterdam, copper-plate engraved map, in outline color, for Covens and Mortier, one sheet from “A Map of the British Empire in America with the French, Spanish and the Dutch Settlements”, neat line 22 1/2 in. x 20 5/8 in., sheet 26 in. x 22 1/4 in., framed. $1000/1500 Note: This map sheet features an elaborate allegorical cartouche: an Indian queen, surrounded by an alligator, a parrot, monkeys and palm trees, has her foot placed on a severed human head. Her daughter, with child, represents the British Colonies. Off in the distance Europeans supervise the unloading of ships, symbolic of trade.

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Jefferys (English, c. 1710-1771), “The Coast of West Florida and Louisiana”, 1775, copper-plate engraved map, neat line 18 3/4 in. x 23 3/4 in., sheet 21 1/2 in. x 28 in., framed. $700/1000 113. An American Carved Cherrywood Plantation Desk, mid-19th c., Louisiana, slanted writing surface flanked by letter compartments, scroll gallery, frieze drawers, turned legs, height 39 1/2 in., width 61 in., depth 30 1/2 in. $1500/2500 Provenance: Sold for the benefit of the Dominican Sisters of Peace, New Orleans, LA.

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114. A French West Indies Purpleheart and Mahogany Petite Armoire, early 19th c., probably Martinique, cove-molded cornice, two doors with shaped and finely figured panels, turned front feet, height 67 in., width 48 in., depth 22 in. $3000/5000 Note: The small size and refined style of this armoire are typical of the work of Creole craftsmen working in Martinique. A Martiniquan armoire with nearly identical cornice, door panels, and turned legs is illustrated in Connors. French Island Elegance, p. 60. Interestingly an 18th century armoire of similar proportions is part of the esteemed Stromeyer collection, Chene Vert, Baton Rouge, Louisiana. Reference: Holden, et. al. Furnishing Louisiana: Creole and Acadian Furniture, p. 130, fig. 1.

115. Jean-Joseph Vaudechamp (French, 17901866, active New Orleans, 1831-1839), “Portrait of a French Woman, probably Catherine Fournier, mother of Alphonsine de Libeert”, 1828, oil on canvas, signed and dated upper left, Paris canvas stamp and handwritten label en verso, 28 3/4 in. x 23 3/4 in., framed. $10000/15000 Note: The label en verso reads “Je donne ce portrait à Alphonsine Libeert, femme Billoré, et la prie de le conservé. Donné le 1ere janvier 1850. Le portrait fait en 1828 par Vaudechamp”; the English translation is, “I give this portrait to Alphonsine Libeert, wife of Billoré, and I pray that she keeps it safe. Given the first of January 1850. The portrait was made in 1828 by Vaudechamp.” According to marriage documents from Paris, France, Catherine Fournier married François Joseph Libeert in 1824 and their daughter, Alphonsine Catherine Libeert, married Eugene Charles Billoré in 1847. This lovely portrait by Vaudechamp depicts the sitter in fashionable summer dress, which is unusual as his female subjects are normally shown in dark, formal gowns. She wears a white dress with sheer white sleeves which are skillfully painted. A colorful blue and red plaid scarf adorns her shoulders and complements the blue sash around her waist. She wears a large straw hat with fanciful bows and lace ribbons. There are several other documented Vaudechamp portraits where the sitter also wears an elaborate lace bonnet but the inclusion of a hat is decidedly uncommon in his oeuvre. Her hair is coiffed in large curls atop her forehead and her visage has the unmistakable quality that Vaudechamp brought to all of his paintings of women. 116. Robert Brammer (Irish/American, 18111853, active New Orleans 1842-1853), “Mississippi Panorama: Boaters along the Shore”, oil on canvas laid on board, unsigned, 22 in. x 26 in., framed.

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$15000/25000 Note: Robert Brammer was one of the earliest painters to depict the Southern landscape. Born in Ireland, he first appears in the Louisville, KY city directory of 1838-39 and worked in that city until 1841. In 1842 he opened a studio in New Orleans and worked there, as well as along the Gulf Coast of Mississippi, until his death in 1853. During his time in New Orleans he advertised as a landscape painter, especially of scenery along the American rivers. Despite his acclaim and apparent productivity during his lifetime, few works by Brammer are known to survive. The landscape offered here is very similar to a work in the Roger Houston Ogden Collection. In both works there is a central grouping of moss-laden trees with Brammer’s characteristic detailed rendering of foliage and an expansive view of water filling the picture plane framed by trees. Brammer always includes two men, one wearing a red jacket, the other a blue one. In the work offered here, the men are preparing to launch a boat from the shore, while on the horizon, a steamboat plies the river. His clear and honest depiction of the natural landscape was praised during his lifetime in the Daily Orleanian which described his paintings as “the embodiment of true poetry, glowing with all of fervid genius…” and noted that “his blended hues are so perfect” that the viewer is “in doubt whether he is looking on a picture, or an ideal creation, or reality itself.” Reference: Hicklin, Robert M. Jr. Calm in the Shadow of the Palmetto and Magnolia, Charleston: The Charleston Renaissance Gallery, 2003.

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117. John James Audubon (American, 1785-1851), The Birds of America, From Drawings Made in the United States and Their Territories, New York & Phil., J.J. Audubon and J.B. Chevalier, 1840-1844, 7 volumes, octavo, first edition, with 500 hand-colored lithograph plates, after the original watercolors and aquatint engravings by Audubon, printed by J.T. Bowen, Phil. and George Endicott, New York (plates 136-150), in original three-quarter leather bindings. $50000/70000 117 (detail) 118. John James Audubon (American, 1785-1851), “Burgomaster Gull”, Plate 396, hand-colored aquatint engraving, from Birds of America, Havell edition, watermarked “J.Whatman/1837”, sheet 25 in. x 36 3/4 in. $1800/2500

119. John James Audubon (American, 1785-1851), “Rusty Grackle”, Plate 157, handcolored aquatint engraving, from Birds of America, Havell edition, watermarked “J.Whatman / 1836”, sheet 38 in. x 25 1/4 in. $1500/2500 120. John James Audubon (American, 1785-1851), “Solitary Flycatcher”, Plate 433, hand-colored aquatint engraving, from Birds of America, Havell edition, watermarked “J.Whatman / 1834”, sheet 38 in. x 25 1/4 in.

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$1500/2500 121. John James Audubon (American, 1785-1851), “Lark Finch, Prairie Finch, Brown Song Sparrow”, Plate 390, hand-colored aquatint engraving, from Birds of America, Havell edition, watermarked “J.Whatman / 1837”, sheet 38 1/2 in. x 25 1/2 in. $1500/2500 122. John James Audubon (American, 1785-1851), “Bullock’s Oriole, Mexican Goldfinch, Varied Thrush, Common Water Thrush”, Plate 433, handcolored aquatint engraving, from Birds of America, watermarked “J.Whatman / 1838”, sheet 39 1/4 in. x 26 in.

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126

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123. John William Hill (American, 18121879) and Benjamin Franklin Smith (American, 1830-1927), “New Orleans from St. Patrick’s Church 1852”, lithograph with later hand-coloring, published by Smith Brothers & Co., 225 Fulton Street, New York, sheet 28 1/8 in. x 43 in., image 23 1/2 in. x 40 1/4 in., attractively matted and framed. $4000/6000 124. Father Louis de Hennepin (1626-c.1705), “Carte d’un tres grand Pais Nouvellement decouvert dans l’Amerique Septentrionale entre le Nouveau Mexique et la Mer Glaciale avec le Cours du Grand Fleuve Meshasipi dediee a Guiliaume IIIe...”, c. 1698, printed by A.V. Someren, Amsterdam, copper-plate engraved map, on laid paper, on a laid paper mount, map sheet 15 5/8 in. x 17 1/2 in., mount 18 1/2 in. x 22 3/4 in., framed. $1000/1500 Provenance: The Collection of Charles B. Blair, of Grand Rapids, sold J.C. Morgenthau & Co., Inc., New York, March 30, 1939.

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125. John Senex, “A Map of Louisiana and the River Mississippi”, 1721, London, copper-plate engraved map, laid paper, watermarked with a fleur-de-lis and “HD”, the map with interesting nomenclature of “Promiscuous Nations”, “Wandering Indians” and “Man-Eaters”, the cartouche with putti engaged in mining, noting the dedication to William Law, father of notorious financier John Law, neat line 19 in. x 22 1/2 in., sheet 20 1/4 in. x 24 3/8 in., framed. $1000/1500 Provenance: The Collection of Charles B. Blair, of Grand Rapids, sold J.C. Morgenthau & Co., Inc., New York, March 30, 1939. 126. Nicolas de Fer (1646-1720), “Les Costes aux Environs de la Riviere de Misisipi...”, 1701, Paris, copper-plate engraved map, laid paper, with indistinct watermark, the cartouche depicting the assassination of La Salle, with detailed nomenclature of the Indian tribes, neat line 8 1/2 in. x 13 1/8 in., sheet 11 1/2 in. x 14 5/8 in., framed. $700/1000 Provenance: The Collection of Charles B. Blair, of Grand Rapids, sold J.C. Morgenthau & Co., Inc., New York, March 30, 1939.

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127. Guillaume de l’Isle (16751726), “Carte de la Louisiane et du Cours du Mississipi Dressee...”, 1718, Paris, first edition, first state (without New Orleans), copper-plate engraved map, 19 in. x 25 1/4 in., framed. $12000/18000 Note: De l’Isle’s map sold here is the “mother map” of the lower Mississippi River Valley and Gulf Coast. It is the first map to accurately delineate the river valley, to systematically locate early Gulf Coast explorations, and to utilize the name Texas as “Mission de los Tejas, etablie en 1716”.

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128. General Georges Henri Victor Collot, “Map of the Course of the Mississipi from the Missouri and the Country of the Illinois to the Mouth of this River”, 1826, Paris, 129 copper-plate engraved map, Plate 25 from Voyages dans l’Amerique Septentrionale..., 34 5/8 in. x 9 1/4 in., framed.

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129. Joseph Scott, The United States Gazetteer: Containing an Authentic description of the Several States, their Situation, Extent, Boundaries..., 1795, F. and R. Bailey, Phil., 12mo, first edition, rebound full-leather, with engraved title, large engraved folding map of the U.S., and 18 smaller maps of states and territories.

$12000/18000 Note: General Victor Collot, who had long served in a military capacity for France, was commissioned in 1796 to explore the Ohio and Mississippi Rivers and to make detailed observations on geographic, economic and agricultural aspects of the Mississippi basin. The underlying mission more likely was to obtain an assessment of Spain’s military strength along the river, with the ultimate plan of returning the region to French control. Collot was arrested on espionage charges by Spanish Governor Carondelet in New Orleans and deported. Collot’s observations and detailed maps were compiled into a book and atlas which were printed in French and English in 1804/05, but not distributed until 1826 due to his death. At the time of distribution, all but 400 copies were intentionally destroyed. The full atlas is exceedingly rare and few records of this individual map are found in American Map Price Record from the last 30 years.

$5000/7000

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130. An Eighteen-Star American National Flag Commemorating Louisiana Statehood, c. 18121816, hand-sewn with thirteen stripes and eighteen double-appliqué cotton-muslin stars on a three-piece wool bunting canton; the canton and stripes are rolled over on themselves at the hoist end to form a handsewn pocket with a period hemp rope; the reverse side of the first star was inscribed in pencil “Caroline Whiting/2nd Division” and the third line is illegible. Accompanied by a copy of a notarized letter signed by Mrs. Jennie Wood describing the provenance, 5 ft. 1 in. x 8 ft. 4 in. $20000/30000 Note: The first Flag Act, passed in 1776, provided that the American flag would have thirteen alternating stripes and thirteen white stars on a blue canton. The number of stars and stripes represented the thirteen colonies. Eighteen years later, Congress passed the second Flag Act, which added two stars and two stripes to the flag representing the inclusion of Vermont and Kentucky as states. The design of the official American flag remained

unchanged, despite the inclusion of three more states into the union. Recognizing the impracticality of adding a star and stripe for every additional state, Congress in 1818 adopted the third Flag Act: the design returned to the thirteen stripes, but a star would be added to represent each state. The official revised American flag then had thirteen stripes and twenty stars. Louisiana was admitted as the eighteenth state on April 30th, 1812, with William C.C. Claiborne as first governor of the state. There are only three versions of the Eighteen Star and Thirteen Striped American Flag known to exist. A silk version is in the collection of the Louisiana State Museum and another version is in a private collection. Mrs. Jennie L. Wood’s notarized letter states, “The flag is entirely stitched by hand, the work of the seaman, and was sewed by the sailors of the (U.S.S.) Constitution.” The letter further states that the “flag had come down to her from her mother’s side of the family, …from her uncle Joseph L. Galloway, direct descendent Thomas Galloway,” a sergeant in General Gabriel Slaughter’s Regiment of the Fifteenth Kentucky Militia at the Battle of New Orleans on January 8th, 1815.

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131. William Henry Buck (Norwegian/New Orleans, 18401888, active New Orleans, 1869-1888), “Three Cabins Along Shoreline”, oil on canvas, signed lower right, 18 in. x 30 in., period giltwood frame. $250000/350000 Provenance: Dr. George Crozat, Houmas House Plantation; to Dr. Anita Crozat, Bocage Plantation, Burnside, Louisiana. Sold as lot 334, Neal Auction Company, September 30, 2006; Estate of Harry T. Howard III, New Orleans, Louisiana. Note: The painting offered here is one of a pendant pair, probably executed for exhibition by Buck. The pendant to this lot was sold in these sales rooms as lot 701, October 2, 2004. “Three Cabins Along the Shore” is a wonderful example of William Henry Buck’s work at the height of his abilities as a painter. Buck’s intimate knowledge of the local indigenous plant life and topography is evident. The cabins, each in a different variation of the Acadian Creole cabin, were built on stilts above the water. On the side of the most rustic cabin are palmetto fronds laid out to dry. Despite the remoteness of the terrain, there is a sailing boat in the distance, a sign of encroachment of modern civilization and technology. In a sense there is a nostalgic quality to the painting, that Buck has documented a sense of time and place.

W denotes the lot is illustrated at www.nealauction.com

133. James Guy Evans (British, b. c. 1810, active New Orleans, 1843-1853), “Steam Ship John S. McKim, Off Rio Grande with 500 Mississippi Volunteers August 1846, Built by Thomas Clyde 1844”, oil on canvas, signed lower right, title in lower margin, typewritten note with history of the Steam Ship John S. McKim painting provenance en verso, 30 in. x 48 in., gilt frame. $70000/100000 Provenance: According to the typewritten note en verso, the painting descended in the family of Thomas Clyde. Clyde built the Steam Ship John S. McKim. 132

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132. Alfred L. Boisseau (French/New Orleans, 1823-1901), “Portraits of a Choctaw Indian Man and Woman”, two oils on academy board, signed lower left and lower right respectively, Morgenson Wunderlich Galleries, Ltd., Chicago; The Charleston Renaissance Gallery, South Carolina; and remnant of Devoe & Co. labels en verso, 10 5/8 in. x 9 1/4 in, framed. $25000/35000 Provenance: Kennedy Galleries, New York City; Morgenson Wunderlich Galleries, Ltd., Chicago; The Charleston Renaissance Gallery, South Carolina. Note: Alfred Boisseau was born in Paris where he studied painting with the noted academic artist Paul Delaroche. He worked in New Orleans at various times from 1845 to 1865. During his first visit in 1845-47, he painted two works with Louisiana subjects which he then exhibited at the 1848 Paris Salon. One of these works, Marche d’Indiens de la Louisiane (Louisiana Indians Walking along a Bayou), 1847, is now in the collection of the New Orleans Museum of Art. A major painting and iconic image of mid-19th century Louisiana, the work shows Boisseau’s interest in the distinctive Louisiana landscape and its native inhabitants. The pair of paintings offered here are sensitively rendered portraits of a young Choctaw man and woman. Showing the male bust-length with a colorful scarf, he wears an outfit indicative of the European influence that affected the Choctaws. A teepee is painted behind him with the flat delta landscape in the background. The woman is wearing a typical Choctaw shawl with earrings and a necklace against a lush green landscape with teepees on the horizon. Choctaws were frequently at the markets of New Orleans, where they sold baskets, goods woven from palmetto leaves and filé, a root condiment.

Note: James Guy Evans was a former Navy sailor and self-taught painter active in New Orleans between 1844 and the 1850s. As a maritime artist in the city, he would have been very familiar with the steamship John S. McKim, which made regular passage between New Orleans and ports in Mexico and Texas. He was also a likely witness to the vessel’s most famous mission, which he depicts in this powerful painting. The John S. McKim played a historic role in the Mexican War. In 1846, General Zachary Taylor and his outnumbered army were holding positions on both sides of the Rio Grande. Taylor planned to march overland to attack the important Mexican city of Monterey; however, he needed reinforcements. In anticipation of the conflict, the United States put out a call for 1,000 volunteers from each state. More than 17,000 Mississippians answered the call, and 1,000 of these enthusiastic citizens formed the First Mississippi Regiment. Former West Point graduate Jefferson Davis acted as their Colonel, resigning from his seat in the U.S. Senate to lead them. It was on the John S. McKim that the First Mississippi Regiment traveled to aid General Taylor, and Evans’ work here depicts the vessel at the mouth of the river. The Regiment fought valiantly at the Battle of Monterey in September 1846. At the subsequent Battle of Buena Vista in February 1847, General Davis found his troops outmanned by the superior Mexican forces. His cry “Stand Fast, Mississippians!” was later adopted by the Regiment as its official motto, and still appears as the slogan of the present-day 155th Infantry Regiment of the Mississippi National Guard.

134. An Important New Orleans Coin Silver Tureen, Adolphe Himmel (wc. 1852-1877) for Hyde & Goodrich (wc. 1828-1861), marked “H”, “HYDE & GOODRICH” in arc and “NEW ORLEANS” in arc; cast stag finial, lion’s head and drop ring handles, beaded borders, molded pedestal foot with scroll supports, presentation inscription “MF. Hayward/ August 25, 1866”, height 11 1/2 in., diameter 11 in., weight 60.10 troy ozs. $20000/30000 Provenance: Mary Frances Hayward (1823-1898) to her son, James Daniel Hayward ( 1850-1924) to his daughter, Laura Hayward Howard (1891-1963) to her son, Alvin Hayward Howard (1915-1969) and thence by descent. This tureen was a wedding anniversary gift to Mrs. Hayward from her husband, Sawyer Hayward, who owned the Alabama & Factors’ Cotton Press on Tchoupitoulas St. in New Orleans. Note: Tureens are a rare form in New Orleans silver. An example by Adolphe Himmel for Hyde & Goodrich, now in the collection of the LSU Art Museum, is illustrated in Crescent City Silver, p. 53, fig. 55. For two examples, both by Adolphe Himmel for Hyde & Goodrich, sold in these rooms, see Neal Auction Company, November 19, 2011, lot 208, and November 20, 2010, lot 325.

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135. A Kentucky Coin Silver Soup Ladle, Samuel Ayres (17671824), wc. Lexington, 1786-1823, Danville, 1823-24, marked “S. AYRES” in banner; elongated fiddle handle with script monogram “CCH”; length 13 1/4 in., weight 5.60 troy ozs.

136

$1200/1800 Reference: Boultinghouse, Marquis, Silversmiths of Kentucky, 1785-1900, pp. 36-43, mark p. 298, fig. 10d.

136. An American Classical Coin Silver Cake Basket, R. & W. Wilson, Philadelphia, act. 1825-1846; grape and grapeleaf swing handle on circular body with vine and berry decoration and guilloche border, circular stepped foot with beading, diameter 11 7/8 in., weight 30.40 troy ozs. $1200/1800 W denotes the lot is illustrated at www.nealauction.com

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138. Father Louis de Hennepin (1626-c.1705), “Carte de la Nouvelle France et de la Louisiane Nouvellement decouverte dediee Au Roy l’An 1683”, copper-plate engraved map, neat line 11 1/2 in. x 18 3/4 in., sheet 17 1/4 in. x 22 3/8 in., framed. $700/1000 Provenance: The Collection of Charles B. Blair, of Grand Rapids, sold J.C. Morgenthau & Co., Inc., New York, March 30, 1939.

140

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137. Guillaume de l’Isle (1675-1726), “Carte du Mexique et de la Floride des Terres Angloises et des Isles Antilles du Cours et des Environs de la Riviere Mississipi...”, 1703, Paris, copper-plate engraved map, first edition, second state, 18 5/8 in. x 23 3/8 in., framed.

139. An Andrew Jackson Silk Broadside, ca. 1837, “Farewell Address of General Andrew Jackson to the People of the United States”, printed in gold ink on black silk with decorative border by P. Augustus Sage, No. 3 La Grange Street, near Christ Church, Phila., 22 1/4 in. x 18 in. $800/1200 140. Arnold Genthe (American/New Orleans, 1869-1942), “Plantation House”, vintage silver gelatin print with original mat, pencil-signed lower left, image 13 in. x 10 in., unframed. $1200/1800

$4000/6000

141

141. Clarence John Laughlin (American/Louisiana, 1905-1985), “In Tragic Light #1 (Zenon Trudeau House, College Point, St. James Parish, Louisiana)”, 1939, vintage silver gelatin print, signed lower right, titled and dated lower left, image 10 in. x 13 1/4 in., framed. $800/1200

142. John McCrady (American/ Mississippi, 1911-1968), “Along the Mississippi”, carbon pencil on paper, initialed lower left, pencil notations in margin, artist label with title and Farrar & Rinehart Art Department label en verso, 9 3/4 in. x 13 1/4 in., gilt antique frame. $3000/5000 Note: “Along the Mississippi” was used as the dust cover illustration for Hodding Carter’s 1942 Lower Mississippi: Rivers of America Series, published by Farrar & Rinehart, New York. 143. William Aiken Walker (American/South Carolina, 1838-1921), “Vegetable Seller, Charleston, S. C.”, oil on academy board, signed lower left, pencil titled and inscribed, sight 11 1/2 in. x 5 3/4 in., period frame. $12000/18000 Provenance: Bland Gallery, New York, NY, “Exhibition of Southern Genre Paintings by William Aiken Walker”, Feb. 1940 no. 20. Francis Garvan Collection.

142

Note: These two Walker paintings, lots 143 and 144, were included in the seminal exhibition “Southern Genre Paintings by William Aiken Walker, 1838-1921” at the Bland Gallery in New York in 1940. The works are framed alike and “Male Cotton Picker” retains the Bland Gallery label en verso which is also pencil-inscribed. To be included in John Fowler’s forthcoming catalogue raisonné on William Aiken Walker. References: Seibels, Cynthia, The Sunny South: The Life and Art of William Aiken Walker, Spartanburg, SC: Saraland Press, 1995, p. 140. Trovaioli, August and Roulhac Toledano, William Aiken Walker: Southern Genre Painter, Gretna, LA: Pelican Pub., 2008, p. 52 and 98.

144. William Aiken Walker (American/South Carolina, 1838-1921), “Male Cotton Picker with Basket on His Head”, oil on academy board, signed lower left, Bland Gallery, New York label en verso, sight 11 1/2 in. x 5 3/4 in., period frame. $8000/12000 Provenance: Bland Gallery, New York, NY, “Exhibition of Southern Genre Paintings by William Aiken Walker”, Feb. 1940, no. 21. Francis Garvan Collection. Note: To be included in John Fowler’s forthcoming catalogue raisonné on William Aiken Walker.

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W denotes the lot is illustrated at www.nealauction.com

145. William Aiken Walker (American/South Carolina, 1838-1921), “Cabin Scene”, oil on academy board, signed lower left, Bland Gallery, New York, label en verso, 6 1/8 in. x 12 1/4 in., framed. $12000/18000 Note: To be included in John Fowler’s forthcoming catalogue raisonné on William Aiken Walker. 146. Karl Bodner (Swiss, 1809-1893), “SchlangenIndianerinn, Woman of The Snake Tribe; Crih-Indianen, Woman of the Cree Tribe”, Tab. 33 and “Mahsette-Kuiuab, Chief of the Cree Indians”, two hand-colored lithographs with C. Bodner blind stamp, sheet size 17 1/2 in. x 22 3/8 in. and 17 1/2 in. x 12 3/8 in.

145

$800/1200 W 147. John James

Audubon (American, 1785-1851), “Red Bellied Squirrel”, Plate 38, handcolored large folio lithograph by J. T. Bowen, Phil., from Viviparous Quadrupeds of North America, sight 26 in. x 20 in., framed. $500/700

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148. A Whole Plate Ambrotype Full Length Portrait of Three Creole Dandies, 1860s, probably New York, housed in the wellknown “Landing of Columbus” thermoplastic Union case, image size 8 1/2 in. x 6 1/2 in., case size 9 5/16 in. x 7 1/2 in., case signed front and back “F.B. Smith & Harmann, N.Y.”. $2500/3500

149

149. A Baltimore Sterling Silver Coffee and Tea Service, the sugar marked “C L Boehme” in rectangle and “sterling” in rectangle on foot, Charles Louis Boehme (1774-1868), active 1795-1812, Baltimore; later mark of retailer, Simon Janowitz, Baltimore, wc. 1856-1884; comprising a coffee pot, teapot, covered sugar and a creamer; each fluted oval form on a pedestal foot, reeded rim and with bright cut engraved bands, coffee pot height 10 1/2 in., combined weight 79.15 troy ozs. $1000/2000 Reference: The Baltimore Museum of Art, Maryland Silver, pp. 7, 82-94 and 177.

152

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W 150. A Pair of Large Gothic Revival Gilt Brass Altar

Pricket Candlesticks, late 19th c., on tripod bases with figures of Jesus with Sacred Heart in Gothic arches, height 39 in., with 11 in., depth 11 in. $700/1000 W 151. An American Coin Silver Punch Ladle, ret. Mitchell &

Tyler, Richmond, VA, wc. 1845-1866, similar to “Armor” pattern by John Polhemus, patent 1855, with shell bowl, engraved “Jenny”, length 13 in., weight 7.20 troy ozs. $400/600 Reference: Hollan, Catherine, Virginia Silversmiths: Their Lives and Marks, pp. 533-536.

152. A Pair of Regency-Style Silverplate Wine Coolers, lobed campagna form bodies, openwork reeded and foliate handles on circular bases, removable liners, height 10 in.

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$1000/1500 153. A Silverplate Tea Caddy in the Georgian Taste, probably Anglo/Colonial, 19th c., fitted interior, chased foliate decoration, height 5 1/2 in., width 7 1/2 in., depth 4 1/2 in. $500/750 154. A Georgian Sheffield Plate Soup Tureen, early 19th c., large two-handled oval form with slightly domed cover, bold gadrooned borders, cast acanthus and scrollwork handles, and large paw feet, height 11 in., length 16 in., width 9 1/2 in. $500/750 155. A George III Sterling Silver Cruet Frame, Paul Storr, London, 1810, the six bottle frame with gadroon, foliate and shell motifs of the Regency period, the bottle holder supports modeled as leopard heads on top of a paw foot leg; gadroon borders on crested oval stand; double-lipped silver-mounted cut glass sauce bottles, height 9 1/4 in., width 12 3/8 in., depth 8 1/4 in., weight 37.15 troy ozs. $5000/7000

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158. An Impressive Paris Porcelain Dinner Service, 19th c., claret ground reserved with polychrome floral cartouches and foliate gilt decoration, including a pair of compotes, a pair of reticulated corbeilles, a footed bowl, 20 luncheon plates, 3 oblong platters, a footed sauce tureen (no lid), a tall fruit cooler (no liner), a large soup tureen, and a three-tiered dessert stand, fruit cooler height 15 1/2 in., soup tureen height 13 1/2 in., dessert stand height 19.

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$2000/3000 159. An American Classical Carved Mahogany Side Chair, early 19th c., attributed to Duncan Phyfe, New York, in the Sheraton taste, rectangular back with beribboned crest, horseshoe caned seat, reeded legs, ash secondary wood.

158

156. A Georgian Sheffield Plate Monteith, c. 1785, oval barrel form with cut-out wave border mounted with silver edge, body with reeded banding and mounted with bold lion mask drop ring handles, raised on cast lion paw feet, height 9 1/4 in., length 10 1/2 in., width 7 3/4 in.

$2500/3500 Note: The chair offered here is nearly identical to one from the collection of Mr. and Mrs. Roland W. Glidden that descended through William Bayard’s family. The bowknot-and-thunderbolt carved crest, while known to many New York makers, including Michael Allison, here exhibits the very fine quality of the documented Phyfe sofa for Bayard.

$1500/2500 157. A Georgian Sheffield Plate Epergne, early 19th c., cast scroll supports for central cut glass bowl above four detachable scroll branches supporting smaller matching bowls, the central pedestal on a square base with paw feet, height 13 1/4 in., diameter 19 in.

Reference: Kenny, Brown, Bretter and Thurlow. Duncan Phyfe: Master Cabinetmaker in New York. 2011. pp. 71, 158-161, fig. 71, plate 2.

$2000/3000 Provenance: Longwood Plantation, built c. 1785, East Baton Rouge Parish, LA.

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160. An American Federal Carved Mahogany Games Table, early 19th c., Boston, possibly John and Thomas Seymour, shaped foldover top, conforming frieze, turned tapered reeded legs, height 29 in., width 37 in., depth 18 in.

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$700/1000 161. An American Chippendale Cherrywood Chest of Drawers, 18th c., rectangular top, four graduated drawers, ogee bracket feet, height 33 in., width 40 1/2 in., depth 17 1/2 in.; accompanied by a sales receipt, 1971.

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$1500/2500 162. A Fine American Classical Gilt Bronze-Mounted Mahogany Box Sofa, 19th c., New York, cylindrical crest rail, columnar arm supports, acanthus and melon feet, casters, height 33 1/4 in., width 89 in., depth 29 1/4. $8000/12000 Note: This sofa is nearly identical to two well-known examples: one included in the Newark Museum’s “Classical America” exhibition of 1963; the other sold by Neal Auction Company as lot 378, February 23, 2008, realizing $32,900. Other New York sofas of similar form include a mahogany sofa in the Brooklyn Museum of Art (acc. 41.1181); a sofa descended in the Drayton Family of Charleston, sold as lot 435 by Neal Auction Company, June 9, 2007; and a sofa acquired from a New Orleans antiquarian, sold as lot 283 by Neal Auction Company, February 7, 2009.

163

Reference: Tracy. Classical America 1815-1845. pl. 57 and Voorsanger and Howat. Art and the Empire City, New York 1825-1861, p. 516, pl. 224.

163. An American Renaissance Carved Walnut Banquet Table, late 19th c., attributed to Alexander Roux, New York, circular top with floral and swag edge, frieze with intertwined acanthus, fruit and floral appliqués, columnar pedestal on griffin and acanthine legs, paw feet, casters, opening to receive two leaves, height 29 in., diameter 39 1/2 in., each leaf 18 in. $7000/10000 W denotes the lot is illustrated at www.nealauction.com

164. A Fine Suite of Eight American Renaissance Carved Walnut Dining Chairs, late 19th c., attributed to Alexander Roux, New York, comprising two armchairs and six side chairs, crest with central cabochon flanked by birds, fruit and foliage, columnar uprights with rosette blocks, padded back amid pierced foliage and fruit; turned legs, casters, each armchair with padded arms and scrolled griffin terms. $7000/10000 Note: A similar suite of dining chairs is illustrated in Dubrow. Reference: Dubrow, Eileen and Richard, American Furniture of the 19th Century, 1840-1880, c. 1983 and 2000, p. 162.

165. A Monumental American Rococo Carved Rosewood Secretary Bookcase, c. 1858, lower Mississippi River Valley, upper case with broken arch crest centered by fruit and nuts flanked by turned finials, frieze with central masque over glazed doors, birdseye maple interior with shelves, three drawers below; lower case with cylinder lid enclosing a fitted interior and pull out baize writing surface, long drawer over paneled doors, bracket feet; the whole with canted corners and acanthine brackets, height 115 in., width 49 in., depth 25 in.

164

$8000/12000 Provenance: Longwood Plantation, built c. 1785, East Baton Rouge Parish, LA. Note: There are several pencilinscriptions noted throughout the secondary cabinetry of this desk. Interestingly one script notation reads: “Heinrich Otto” (1803-1887), a 166 German immigrant to Louisiana who moves to Franklin County, Missouri where he and one of his children, William Henry (1830-1891), founded Otto & Co. Furniture Store and Funeral Home in 1858. Another pencil-inscription notes the date “Feb. 1858” and “Bayou Goula”. The secretary-bookcase is accompanied by a handwritten note describing a “family history” associated with this desk. 166. An American Carved Walnut Portfolio Stand, mid-19th c., adjustable serpentine frame, trestle base, turned and blocked stretchers, arched scrolled legs, casters, height 47 3/4 in., width 30 1/4 in., depth 21 1/2 in. $1200/1800 165

167

167. An American Aesthetic Carved and Burled Walnut Hall Stand, mid-19th c., turned crest, lattice frieze, beveled mirror flanked by floral panels fitted with brass griffin hooks, umbrella stands flanking a rouge marble top above two drawers, height 94 in., width 60 in., depth 16 in.

168

$1500/2500 169. An American Renaissance Carved and Burled Walnut Gentleman’s Armchair, mid19th c., attributed to John Jelliff, Newark, NJ, shield back surmounted by elaborate crest, padded arms, caryatid terms, turned, tapered, fluted legs, casters.

168. A Very Fine American Renaissance Carved Oak Cabinet, mid-19th c., attributed to Alexander Roux, New York, crest with crocketed finials centered by a bust of George Washington, frieze with scrolling leaves, chamfered sides with hunting figures, arched glazed doors; base with two medial drawers, doors with carved panels of fish and game, pendant fruit and nut stiles, blocked molded base, height 100 in., width 68 1/2 in., depth 24 in. $6000/9000 Note: Many elements on this cabinet relate to known examples by Alexander Roux. The high relief fish panels with a variety of eels, a turtle, a crab, and other creatures, are very similar to those on a walnut sideboard by Roux at the Metropolitan Museum of Art (acc. 1993.168), and those on the crest of a server at the Brooklyn Museum of Art (acc. 1995.15). The hunters on the stiles of the upper case complement the game and fish motif on the lower case and adhere to Northern French Renaissance Revival traditions for dining furniture. The Founding Father bust at the crest, however, is an American subject likely related to the 1876 Centennial. The carved decoration on this cabinet is similar to that on pair of oak cabinets purchased from Roux by William and Margaret Astor, c. 1856 (for Rokeby in Barrytown, New York) and bearing the label from his 481 Broadway warerooms. This cabinet displays the use of a brilliant maple interior with rosewood facing that strongly suggests the very best New York cabinetmaking in the middle 19th-century.

$800/1200 Provenance: Longwood Plantation, built c. 1785, East Baton Rouge Parish, LA. 169

Reference: Hauserman. “Alexander Roux and his ‘Plain and Artistic Furniture’” Magazine Antiques (February 1968) p. 215, fig. 9.

W denotes the lot is illustrated at www.nealauction.com

170. A Pair of Antique American Carriage Lights, 19th c., signed C. Cowles and Company, New Haven, Connecticut, original nickel plate on brass bodies, castellated steeple with four tiers, original bowed beveled glass panels, wrought iron mounting brackets, height 34 in., width 6 3/4 in., depth 10 1/2 in. 170

$1200/1800

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171. A Fine American Gilt and Patinated Bronze Three-Light Solar Chandelier, c. 1850, each font marked “Cornelius & Co., Philad./July 24th, 1849. Patent/ April 1st. 1843”, grape leaf and cluster corona, above tapered, fluted standard with suppressed ball; foliate arms with burnished and matte gilt, period etched shades, height 36 in., diameter 34 in., not electrified. $4000/6000 172. A Pair of Louis Philippe Gilt and Patinated Bronze Five-Light Sconces, c. 1850, scroll and palmette backplate, issuing foliate candle supports, not electrified, height 12 in., width 14 1/2 in., depth 17 in. $1000/1500 172

W 173. A Pair of English Silverplate Two-

Light Argand Lamps, font with flame finial, acanthine collar, tall pedestal mounted with palmette, on paw feet, electrified, height 23 1/2 in., width 13 in., depth 8 in. $800/1200 174. An Antique Cast Iron “Fern Pattern” Garden Bench, 19th c., pierced back and arms, openwork geometric seat, attenuated cabriole legs with fern brackets, height 33 1/4 in., width 54 in., depth 21 in. $1200/1800 Provenance: Longwood Plantation, built c. 1785, East Baton Rouge Parish, LA. W 175. A Pair of Antique Cast Iron Garden

Urns, 19th c., egg and dart molded rim, fluted shaft, square plinth, height 18 1/2 in., diameter 24 in. $1000/1500 174

Provenance: Longwood Plantation, built c. 1785, East Baton Rouge Parish, LA.

W 176. An English Cast Iron Garden

Chair, 19th c., fan-carved wood crest rail, lion’s mask stiles, arms terminating in female busts, trapezoidal plank seat, foliate scroll legs ending in padded paw feet. $600/900 177. A Pair of Rose-Colored Marble Lions Known as “Patience” and “Fortitude”, posed after the pair by E.C. Potter (American, 1857-1923) on the central steps of the New York Public Library, late 19th/early 20th c., unsigned, on wood bases, height 17 1/2 in., length 24 in., depth 9 1/2 in. $1500/2500

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178. A Polychrome Terracotta Figure of a “New Orleans Stevedore”, late 19th c., figure depicted seated, original surface, good patina, height 50 in., width 21 1/4 in., depth 35 in. $6000/8000 Provenance: Possibly the Paris Exposition Universelle 1900; by repute, acquired in the 20th century from the collection of Rock Hudson. Note: This sculpture of a nineteenth century seated black man is reminiscent of the terracotta works of the Bernhard Bloch studio of Eichwold, Bavaria (now Dubi, Czech Republic). The company, which operated under Bloch’s name from 1871 to1940, was 178 well known for tobacco jars in the shape of caricature heads, although they also made miniature and full-scale reproductions of human figures. One sculpture attributed to the firm of Bernhard Bloch that is particularly similar to the “stevedore” is a life-size polychrome terracotta figure of a young boy seated in a chair, fishing. Both the figure of the man and that of the boy are more realistically depicted than Bloch’s tobacco jars. Instead, the two life-size figures, particularly the “stevedore” illustrated here, evoke an emotional response from the viewer due to the naturalistic depiction of the facial features. This gritty, un-idealized view of a working man, with a cigar in his mouth and holes in his pants and shoes, derives from the Realist movement of the mid-nineteenth century. During this time period, artists such as Honoré Daumier, in painting and printmaking, and Auguste Rodin, in sculpture, paid homage to the working class with their haunting and evocative works.

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179. An Antique English Maple and Parcel Gilt Parlor Harp, marked “Sebastian Erard, London”, in the Empire style, carved with classical figures, 43 strings, height 67 in., width 22 in., depth 33 in. $1500/2500

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182. A George III Sterling Silver Hot Water Urn, Daniel Smith and Robert Sharp, London, 1762-1763; ovoid form with repoussé bellflower banding, the waisted lid with flame finial, wooden ring handles, spade shaped spigot, reticulated base with ball and claw feet, later crest of the 4th Baron Kenyon (Kenyon quartering Ormsby-Gore and Tyrell) and presentation inscription continuously engraved “Tedsmore to Lloyd 4th Baron Kenyon/ on his coming of age/ July 5th 1885/ The gift of friends around”, height 19 1/2 in. $4000/6000 Provenance: Estate of a New Orleans lady. 183. An Edwardian Inlaid and Painted Mahogany Writing Table in the Adam Taste, early 20th c., banded top with inset leather above two drawers on square tapered legs ending in brass ferrules, bellflower swags and pendants overall, height 29 1/2 in., width 42 in., depth 25 7/8 in.

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183

180. An American Classical Carved and Gilt Convex Mirror, 19th c., molded surround, ebonized rabbet, diameter 34 in. $1000/1500 Provenance: Longwood Plantation, built c. 1785, East Baton Rouge Parish, LA.

$1200/1800 184. A British West Indies Mahogany Library Chair, c. 1830, paneled backswept crest, boldly scrolled arms, spherical uprights, rounded seat rail, turned legs, casters.

181. An Antique English Sterling Silver Montieth, maker’s mark rubbed, London, 1895; retailer’s mark H. Lewis & Co., 172 New Bond St. W., footed circular bowl with notched rim and lion’s mask drop ring handles, chased scrolls, foliage, vacant cartouches, height 6 1/2 in., diameter 10 1/4 in., weight 35.85 troy ozs. $2000/3000

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$1500/2500

185. A William IV Carved Mahogany Three-Tier Étagère, early 19th c., rectangular top with turned finials and backsplash, ring turned and blocked uprights, two galleried shelves, height 40 in., width 44 in., depth 18 3/4 in. $800/1200 185

W 186. A George III

Inlaid Mahogany Side Table, late 18th/ early 19th c., fitted with deep frieze drawer, square tapered legs with cuffs, height 28 in., width 28 in., depth 15 1/2 in. $800/1200 187

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W 189. An Antique George III-Style

Mahogany Music Stand, early-to-mid-19th c., the canted rectangular music rest with gilt bronze candlearms, tapered stem and arched spider legs, height 40 in., width 20 in. $500/700 190. A George III Carved Mahogany Chest of Drawers, late 18th c., molded top, dressing slide, four graduated drawers, molded base, shaped bracket feet, height 33 1/4 in., width 37 1/2 in., depth 19 in.

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187. A Georgian-Style Carved Mahogany Vitrine Cabinet, 20th c., Manheim Galleries, New Orleans, reticulated broken arch crest and frieze, glazed doors, conforming sides, interior with shaped shelves, plinth base fitted with two drawers, claw and ball feet, height 87 3/4 in., width 57 1/2 in., depth 20 1/4 in. $1500/2500 Provenance: Estate of James P. Raymond (19312011), New Orleans, LA.

$1200/1800 W 188. An English Ebony,

Yewwood, Rosewood and Exotic Woods Inlaid Side Table, early 20th c., rectangular banded top with paper label beneath “G V R/ Buckingham Palace/L C D”, pencil inscribed “Chapter House 139 North End”, trestle support with ring-turned uprights, height 23 7/8 in., width 15 in., depth 11 7/8 in.

191. Charles Euphrasie Kuwasseg (French, 1838-1904), “Vue du Port d’Anvers”, 1886, oil on canvas, signed and dated lower left, 23 in. x 36 in., antique giltwood frame. $8000/12000 Provenance: Gallerie Claude Coissard, Deauville, France; Estate of James P. Raymond (1931-2011), New Orleans, LA.

$400/600 W denotes the lot is illustrated at www.nealauction.com

193

192

196

193. Italian School, late 18th c., “Allegory of Persuasion (a reclining female figure in an Overdoor format)”, 1782, oil on canvas, signed “Monjoy” and dated, with a banner inscribed “Suadere” (Italian, “to persuade”) center right, 29 1/2 in. x 48 3/4 in., unframed. $1800/2500

194

194. A Charles X Carved Mahogany Center Table, early 19th c., the fossilized marble top above a narrow frieze, incurvate triangular base ending in lappet-carved paw feet, height 27 in., diameter 32 in. $3000/5000

192. Jean Georges Vibert (French, 1840-1902), “Standing Portrait of a Cardinal Consulting a Missal on the steps of the Bibliotèque du Vatican”, oil on panel (cradled in 1901), signed lower left, 17 3/4 in. x 14 1/2 in., antique frame.

W 195. An Antique Louis XV-Style Kingwood Parquetry, Marquetry and Bronze-Mounted Poudreuse, central lift top opening to dressing mirror and well, case fitted with a writing slide flanked by drawers, cabriole legs, height 29 5/8 in., width 34 1/4 in., depth 18 in.

$8000/12000

$400/600

Provenance: Estate of a New Orleans Lady.

Provenance: Ames Galleries, Beverly Hills, CA, 1980. 196. A Pair of Antique Louis XIII-Style Carved Oak Fauteuils à la Reine, square backs, scrolled acanthine arms, conforming legs joined by molded H stretchers. $1000/1500

197

199

197. A Fine Antique Dutch Inlaid Satinwood and Rosewood Bombé Commode, late 18th/ early 19th c., shaped top, four graduated drawers, claw and ball feet, height 33 in., width 41 in., depth 21 3/4 in. $1800/2400 W 198. A

Chinese ShellInlaid Lacquer Chest, 19th c., rectangular with canted corners, hinged top, brass mounts, decorated with figures in garden landscapes, interior with paper lining remnants, mounted to a later footed base and with later beveled glass top, height 22 1/4 in., width 19 1/4 in., depth 13 3/4 in. $600/800 Provenance: Estate of Judith Gic Shelton (1947-2011), New Orleans, LA.

200

201

200. An American Classical Mahogany Pier Table, early 19th c., Boston, Egyptian marble top, paneled frieze, columnar uprights with bronze Corinthian capitals and anthemion collars, mirror back flanked by pilasters, plinth base, height 36 in., width 36 in., depth 18 in.

202. A Rare Victorian Cast Iron and “Pearl Painted” Églomisé Tea Table, mid-19th c., probably English, the tilt-top centering a reserved cluster of grapes; iron foliate support, conforming quadrupedal base, height 27 in., diameter 21 in.

$1500/2500 199. An American Federal Carved Mahogany Sideboard, early 19th c., Baltimore, central bow front with a drawer over a pair of doors, flanked by doors, square tapered legs, height 40 1/2 in., width 61 3/4 in., depth 22 1/8 in.

201. An American Late Classical Carved Mahogany “Voltaire” Armchair, c. 1830, scrolled crest, padded back and arms, swan terms, turned legs, casters.

$1000/1500

$1200/1800

$700/900 Ref. Lichten, Frances. Decorative Arts of Victoria’s Era, pgs. 157 & 165.

202 W denotes the lot is illustrated at www.nealauction.com

204

206. A Monumental Continental Painted “Grotesque” Fictive Trellis, oil on canvas, centering a scroll and urn with birds and copious flowers, unsigned, 109 in. x 49 in.

203

203. An AngloColonial Carved Mahogany Campaign Clothes Press, 19th c., molded top over paneled doors, interior with two over three graduated drawers, molded base, height 48 1/2 in., width 44 1/2 in., depth 21 in.

$2500/3500 Provenance: “Gro” Oertling, The Eighteenth Century Shop, New Orleans, LA.

205

$1000/1500 204. A William IV Carved Oak Console Table, mid-19th c., serpentine marble top, conforming molded frieze, massive monopodial griffin supports, paw feet, height 36 5/8 in., width 60 1/2 in., depth 27 in. $1200/1800 Note: Most high-style carved English furniture of the mid-19th century was made by special commission. The monopod griffin supports on this console closely relate to a group of furniture presented by Gillows of London at the 1851 Crystal Palace Exhibition.

206

207

205. A Carved Marble Relief of “Dawn”, after Bertel Thorvaldsen (Danish, 1770-1844), the flying figure of Aurora carrying a young Eros with the torch of Day, unsigned, height 26 in., width 25 1/2 in., depth 2 in.

207. A Pair of Pompeian-Style Patinated Bronze Urns, boar’s head handles surmounted by double-sided Classical busts, cast with Greek key and foliate decoration, height 40 in., width 26 in., depth 20 in.

$600/900

$2500/3500

209

210

W 208. A Grand Tour Commemora-

tive Column, a simplified bronze reduction of the Column of Trajan in the Roman Forum, with an associated figure in 18th c. dress mounted on top, height 14 7/8 in. $300/500 209. A Set of Four Gorham Sterling Silver “Maintenon” Pattern Table Candlesticks, c. 1920s, each with weighted circular base, tapered shaft, urn shaped candlecup with removable bobêche, height 11 1/8 in. $2500/3500

211

210. A Tiffany “Richelieu” Pattern Sterling Silver and Crystal Cruet Set, two bottle oblong stand having a central handle, the frame embellished with beading, anthemion banding and raised on foliate paw supports, height 8 3/8 in., width 7 in., weight 12.95 troy ozs. $1200/1800 211. A Set of Four Howard & Co. Sterling Silver Master Salts, New York, NY, early 20th c., each compressed circular form with gadrooned rim, lion mask paw feet, height 2 1/4 in., diameter 3 1/2 in., combined weight 30.55 troy ozs. $1200/1800 212. A Tiffany & Co. Sterling Silver Cigar Humidor, marked “TIFFANY & CO. MAKERS”, 1936, cedar-lined rectangular form with hinged cover, machine engraved surfaces, applied vacant rectangular plaque on cover, height 3 1/4 in., length 9 1/2 in., depth 6 in., weight 41.05 troy ozs.

212

$3000/5000 W denotes the lot is illustrated at www.nealauction.com

213

214

213. A Good Mexican Sterling Silver Punchbowl, Sanborn’s, Mexico City, 20th c., circular hand-hammered body with robust grape and grapeleaf handles, circular pedestal foot, engraved Von Phul crest with lion rampant and crown and motto “Sapientia et Virtus”, verso with handsome monogram “H von P”; height 9 in., diameter 18 1/4 in., weight 99.65 troy ozs. $3000/5000 Provenance: The Von Phul Family, Belair Plantation, West Baton Rouge Parish, LA. Reference: Morrill and Berk, Mexican Silver.

214. A Howard & Co. Sterling Silver “Chrysanthemum” Water Pitcher, New York, NY, 1866-1922; repoussé chased alternating panels of swirl fluted foliage and flowers, on vase shaped body, plain neck, ornate cast foliate rim and handle, the bottom with engraved dates “Nov. 14th 1889/ November 1937”, height 8 3/4 in., weight 30.20 troy ozs.

215

$1500/2500 215. A Continental .800 Silver Box, Germany, c. 1900, rectangular with hinged cover, gilt interior, chased genre vignettes on sides and cover, fitted with a lock, raised on four caryatid scroll supports, height 4 1/4 in., width 9 1/4 in., depth 5 1/4 in., weight 35.60 troy ozs. $2000/3000 216. A Pair of French Rococo Silver Sauce Boats Mounted on Attached Stand, BoinTaburet à Paris, Georges Boin and Emile Taburet, 1873-1901, 3 Rue Pasquier; pair of footed sauceboats joined along the side rims and with intertwined flat scroll handles; one leg of each sauce boat is attached to matching underplate, each sauce boat fitted with silver liner, height 7 1/4 in., length 12 in., width 9 7/8 in., weight 77.55 troy ozs. $3500/4500 216

Note: The Boin-Taburet firm was instrumental in the reintroduction of the Louis XV style to 1880s Paris metalwork.

217

219

219. Jean-Baptiste Pigalle (French, 1714-1785), “Mercury Attaching His Winged Sandals”, 19th/20th c., marble, unsigned, height 24 in., width 12 in., depth 13 in., on a circular black marble base. $1000/2000 Note: This uninscribed marble exactly follows the forms and dimensions of the small version (at the Louvre, Paris) of Pigalle’s most famous work, of which he composed a terracotta model in Lyon in c. 1740 (probably the version now in the Metropolitan Museum, New York); in 1744 he was made a full member of the Académie Royale upon his presentation of the small marble now in the Louvre. A royal commission for a life-size version was completed in marble in 1748, and was presented by King Louis XV to Frederick the Great of Prussia (now Berlin, Nationalgalerie). The work has always been considered one of the most successful sculptures of the 18th c. It took on a sort of second life—represented by a plaster of this same size—as the centerpiece of the great painting by Jean-Baptiste-Siméon Chardin (1699-1779) called “Les Attributes des Arts of 1766” (versions in the Hermitage, St. Petersburg, and the Minneapolis Institute of Arts).

218

217. A Gorham Martelé .9584 Silver Centerpiece Bowl, c. 1905-1912, circular bowl with lobed everted rim decorated with flowering scroll foliage in the Japanese taste, marked “Martele” over eagle, above Gorham trademark, above .9584, above PzZ; height 3 3/4 in., diameter 15 1/2 in., weight 63 troy ozs. $10000/15000 218. Vincenzo Vela (Italian, 1820-1891), “The Last Days of Napoleon”, 1867, patinated bronze reduction after the colossal marble at Malmaison, France (another version in the Corcoran Gallery of Art, Washington), cast signature and date on front edge of base, early Barbedienne foundry mark in script along right edge of base, and “E” on underside, height 17 in., width 11 1/2 in., depth 15 1/2 in. $8000/12000 Provenance: Estate of a New Orleans lady.

220

220. An Italian Carved Alabaster Group of “A Lady and Her Court Painter”, 19th c., unsigned, height 33 in., width 16 in., depth 17 in., on a fluted pedestal, height 35 1/2 in. $2000/3000

W denotes the lot is illustrated at www.nealauction.com

222

221

223

221. Adrien Étienne Gaudez (French, 1845-1902), “Dancing Couple in Renaissance Dress”, bronze, brown and burnished gold patina, signed on base, rotating bronze socle, base marked “Depose GK”, height 37 in., width 17 in., depth 12 in.

223. A Large Reed & Barton Sterling Silver “Vintage” Motif Punch Bowl, bulbous circular bowl with a flared rim, bold repoussé chased and applied cast grapevines with clusters of grapes and grape leaves encircling the rim and upper bowl and also on the lobed spreading foot, height 12 1/4 in., diameter 15 1/4 in., weight 129.85 troy ozs.

$12000/18000 222. A Gorham Martelé .9584 Silver Bowl, c. 1906-07, marked “Martele” above eagle, above Gorham trademark, above .9584, above LRL; circular form with paneled sides, lobed rim, hammered and chased in the Japanese taste with leaves and flowers, conforming base, engraved on bottom “GRACE MEACHER”, height 5 1/8 in., diameter 11 in., weight 40.85 troy ozs. $8000/12000

$10000/15000 224. A Gorham Sterling Silver Water Pitcher with Winged Lions, 1897, vase form on a stepped circular foot, Classical borders and ornate embossed decoration; height 10 1/4 in., weight 27.15 troy ozs. $1200/1800 224

225. An American Sterling Silver Flatware Service, Wallace, “Grand Baroque” pattern, pat. 1941, including 12 forks, length 7 3/8 in., 12 salad forks, length 6 1/2 in., 12 soup spoons, 6 1/8 in., 12 teaspoons, 12 knives, length 9 in., 12 fh butter knives, a cold meat fork, berry spoon and gravy ladle, total weight (weighable) 95.25 troy ozs. $3500/4500 226. A Large Parian Figure of a “Wood Nymph Caressing Two Deer”, after Charles Bell Birch (English, 1832-1893), height 19 1/2 in. $1000/1500 227. A Fine Napoleon III Gilt Bronze Figural Mantel Clock, c. 1870, retailed by Tiffany & Co., New York, the dial marked “A. Brocot & Delettrez/ Paris” and “Tiffany”, decorated with a hunting motifs, height 18 1/2 in., width 22 in., depth 10 in.

225

$7000/9000 Note: Achille Brocot, inventor of the Brocot movement, and Jean Baptiste Delettrez formed a partnership based in Paris that lasted from 1851 to 1878. They sold some of the finest clocks available at the time, combining superior mechanical and decorative workmanship. Tiffany was the premiere retailer of 226 fine wares in New York in the 19th c. Important Aesthetic interiors developed for the robber barons, such as Cornelius Vanderbilt and J.P. Morgan, always included objets d’art and accessories from Tiffany.

227

229. Louis Étienne Watelet (French, 17801866), “Figures on a Path Beside a Rushing Mountain Stream”, 1857, oil on canvas, signed and dated lower left, 19 1/4 in. x 23 1/2 in., framed.

W 228. Edouard Jean-Baptiste

Detaille (French, 1848-1912), “Seated Soldier“, watercolor, unsigned, 6 7/8 x 5 in., matted and framed. $700/900 Provenance: Acquired Christie’s, January 7, 1981, lot 124. Estate of James P. Raymond (1931-2011), New Orleans, LA.

$1500/2500

229

Provenance: Sotheby Parke Bernet, NY, October 12, 1979, lot 236; Estate of James P. Raymond (19312011), New Orleans, LA.

W denotes the lot is illustrated at www.nealauction.com

230. Max Ernst Pietschmann (German, 1865-1952), “Leda and the Swan”, 1922, oil on canvas, signed and dated lower right, 31 in. x 41 in., framed. $4000/6000 231. Otto Blum (Continental, 20th c.), “Street Scene in Old Quarter of Paris”, early 20th c., watercolor, 30 in. x 40 in., original complex gilt frame. $1200/1800 232. Adolf Schreyer (France/Germany, 1828-1899), “Cossack and Sleigh”, oil on canvas, monogrammed lower right, extensive provenance labels en verso, 10 3/4 in. x 18 3/4 in., framed. $4000/6000 Provenance: Estate of Artist to Harold Winter; to New York Estate; to present owner. 230

Note: Christian Adolf Schreyer was born in Frankfurt-am-Main and studied at the noted Stadel Institute at Stuttgart and Munich, becoming an accomplished artist while following Prince Thurn and Taxis and later the Austrian army through Europe honing his skills as a military artist. He traveled widely through Africa, settling in Paris and became well known for his depictions of battle scenes and equestrian pictures. In the current lot, Schreyer’s mastery of the expression of force and beauty in his equestrian work comes through vividly. While much of Schreyer’s work was produced on a large canvas with much landscape work, in this picture he focuses tightly on the Cossack driving his troika of horses through the snow. Schreyer had traveled to Russia during the Crimean War as a correspondent and studied equine anatomy, knowledge he transferred to his canvas in paintings such as this. He loved the energy and bravura of Cossack life and made them and their troikas of horses the subjects of many of his enduring works of art.

232

On the verso of the canvas is the stencil of Armand-Auguste Deforge and MarieCharles-Edouard Carpentier of Paris, important art dealers who promoted artists such as Pierre-Auguste Renoir in the mid-19th century. Schreyer had arrived in Paris in 1862 and having his work included in the collection of such a gallery was a major accomplishment. Affixed to the stretcher are old handwritten labels including one in English stating “...this picture was left for Mr. Harold Winter in my husband’s estate, as his father died to whom this picture was promised. Mary Schreyer née Andreas/ May 28, 1912” and the other in German stating the same. 233. Jean-Baptiste-Camille Corot (French, 1796-1875), “Le Petit Berger”, 1855, cliché-verre print, sight 12 5/8 in. x 9 3/4 in. $1000/1500

231

233

Provenance: Paul Proute, Paris; Henri Petit, Paris; Arsene Bonafous-Murat, Eric Carlson, New York, 1990; purchased from Salander-O’Reilly Galleries, Inc., 1994 and accompanied by an exhibition catalogue.

234. William Merritt Chase (American, 1849-1916), “Landscape with Cottage, Pennsylvania”, c. 1900, monotype on cream wove paper, signed lower left, exhibition label and Sylvan Cole Gallery, New York, label en verso, sheet 6 3/8 in. x 8 1/4 in., framed. $3000/5000 235. Marc Chagall (Russian/French, 1887-1985), “Bella”, 1924, etching, pencil-signed and numbered “34/120”, sight 9 7/8 in. x 5 3/8 in., plate 8 3/4 in. x4 1/2 in., framed. $2500/3500 234

237

236

237. Robert Rauschenberg (American, 1925-2008), “People Have Enough Trouble without Being Intimidated by an Artichoke”, 1979, offset color lithograph with collage, trial proof, pencilsigned, dated, and inscribed “TP”, sheet 31 in. x 23 in., float framed.

235

$1000/1500 236. Childe Hassam (American, 18591935), “Cos Cob”, 1915, (Cortissoz 32), etching, monogrammed, inscribed and dated in plate lower right, Kennedy Galleries label en verso, sight 7 1/2 in. x 5 1/2 in.

238. Frank Duveneck (American, 1848-1919), “Piazza San Marco”, 1883, etching, pencil-signed, monogrammed and dated in plate lower right, sight 14 in. x 11 1/8 in.

$1000/1500 Provenance: Purchased from Jensen Fine Arts, 2001.

$1000/1500 Provenance: Purchased from Jensen Fine Arts, 2001. 238 W denotes the lot is illustrated at www.nealauction.com

239

240

239. Harold Hitchcock (English, 1914-2009), “Still Life”, 1966, watercolor, monogrammed and dated lower left, 16 in. x 24 3/4 in., framed.

242. A Louis Philippe Inlaid Burled Walnut Miniature Commode, mid19th c., Burgundy, white marble top, cove molded drawer over three drawers, bracket feet, underside with inscription translated from the original French “This old cabinet of Dijon where lived the mother of Charles Moraielon father of Mrs. Bernard”, height 10 1/2 in., width 14 in., depth 6 1/2 in.

$1500/2500 Provenance: Acquired Guy Neville, England; Estate of James P. Raymond (1931-2011), New Orleans, LA. 240. Harold Hitchcock (English, 1914-2009), “Saint Anthony’s Cove”, 1981, watercolor, monogrammed and dated lower right, 27 in. x 40 in., framed. $1200/1800 Provenance: Acquired directly from the artist; Estate of James P. Raymond (19312011), New Orleans, LA. 241

$600/800

242

241. A Venetian Polychrome Painted Commode, rouge royale marble top, paneled case centering two doors, shelf interior, openwork acanthus below, cabriole legs, height 37 in., width 54 in., depth 22 1/8 in. $1500/2500

243

243. A Regency Carved Mahogany and Calamander Banded Games Table, early 19th c., foldover top with canted corners, baizelined playing surface, vasiform stem on a circular plinth, hipped sabre legs with brass paw feet, casters, height 29 1/4 in., width 35 1/4 in., depth 17 3/4 in. $700/1000

244. A Rococo Carved Rosewood Breakfast Table, mid-19th c., American or English, circular tilt-top, lobed stem, scrolled floral carved legs, scroll feet, casters, height 29 in., length 48 1/4 in., width 49 in. $1200/1800

244

245. A Fine American Carved Rosewood FireScreen and Desk, mid-19th c., New York, molded and hinged top, frieze centered by distinctive rosette, fall front with reticulated foliate scrolls opening to writing surface and fitted satinwood interior, paneled sides with ripple molding, trestle supports, turned stretcher, scrolled legs, casters, height 53 1/8 in., width 26 1/4 in., depth 24 3/8 in.

245

246

$1800/2500 Note: Interestingly, the fire screen and desk presented here is presaged by an earlier New York example, c. 1790, made for Anne Stevenson of Van Cortlandt Manor, Croton, New York. Reference: American Collector Magazine, Feb. 1943 via www.collectorsweekly.com, “Furniture with Double Uses”.

246. An English Painted and Inlaid Mahogany Demilune Games Table in the Adam Taste, 19th c., foldover top with polychrome floral swags, beribboned pendants, conforming frieze with central medallion of putti, tapered square cuffed legs, bellflower pendants, height 30 in., width 48 in., depth 20 1/2 in. $2500/3500

248

247. A Regency Inlaid Mahogany and Caned Settee, 19th c., satinwood inlaid back and arms, vasiform uprights, conforming seat rail, turned legs, casters, height 37 in., width 61 1/2 in., depth 24 in. $1000/2000 248. A Set of Four Tiffany Bronze Nesting Dishes, c. 1860, marked Tiffany Studios, New York, oval lotus leaf shape, largest length 5 5/8 in., width 4 1/8 in.

247

$300/500 W denotes the lot is illustrated at www.nealauction.com

253. A Pair of French Classical Gilt Bronze Chenets, 19th c., urn form on tall shaped base with pierced frieze, cast in high relief, height 14 1/2 in. $800/1200 254. A Pair of Continental Bronze Models of the Townley Vase, 19th c., with an antique figural frieze, mounted on ebonized wooden plinths, height 13 1/2 in. $500/750 251

W 255. A Pair of English Arts

and Crafts Brass Fire Dogs, c. 1885, attributed to Benham & Froud, London, wc. 1855-1924, from a design by Christopher Dresser, each spherule ribbed body on cylindrical legs and surmounted by tool rest, height 6 3/4 in. 252

W 249. A Group of Antique

Continental Tie Backs, comprising five pairs with central rosettes, one of which features painted porcelain, diameter 1 1/2 in. to 2 in. $300/500 W 250. A Pair of Antique

253

Continental Patinated Bronze Putto Mounts, c. 1900, constructed to rest on the edge of a mantel or piece of furniture, height 15 in., width 12 in., depth 5 1/4 in. $500/700

W 256. A Schiebler Sterling

Silver “Chrysanthemum” Pattern Soup Ladle, George W. Shiebler single-faced pattern introduced in 1885, length 13 3/8 in., weight 6.35 troy ozs. $300/500 W 257. A Pair of American Coin

Silver Fish Servers, James S. Vancourt, New York, NY, “Jenny Lind” pattern, hollow handle by Albert Coles, produced 1850-1860, fork length 9 3/4 in., knife length 12 1/8 in. $300/500

$600/900

Reference: McGraw. Manufacturers’ Marks on American Coin Silver. pp. 9, 61 and 152; Turner Noel D. American Silver Flatware. pp. 91.

$800/1200

Note: An identical fire dog is illustrated in Truth, Beauty, Power: Dr. Christopher Dresser 1834-1904, catalogue for Historical Design, 1998.

251. An Antique French Gilt Bronze Two-Handled Urn, c. 1890, after the Antique, egg and dart rim, frieze of Greek gods, fluted base, original liner, height 9 in., width 17 in., depth 11 1/2 in.

252. A Fine Grand Tour Gilt Bronze Reduction of the “Colonne Vendome”, surmounted with the figure of Napoleon I, height 12 1/8 in.

254

$300/500

Note: Albert Coles’ nephew, William L. Coles, formed a partnership with James S. Vancourt in 1848 for the production of flatware. The partnership was dissolved in 1852. Observe the rubbed out “C” above the “V” in lozenge punch.

258. A Good American Sterling Silver “Medallion” Cake Basket, ret. Ball, Black & Co., New York, NY, wc. 18511874, probably by John R. Wendt, New York, NY, act. 1859-1870, beaded rim, shallow circular bowl on three cast ram’s head feet, medallion mask on swing handle, height 8 1/2 in., diameter 9 in., weight 29.25 troy ozs.

258

263

$1200/1800 Note: John Wendt’s silver manufactory occupied two floors of Ball, Black & Co.’s building from 1860 to 1871. Wendt is particularly noted for his “medallion” silver. 259. A Continental Silver Wheelbarrow Centerpiece, late 19th c., incuse marks on bottom “B&Z”, “GERMANY”, crown above lion, reticulated sides with ornate figural vignettes, fitted with conforming glass liner, height 6 1/2 in., length 13 1/2 in., weight 29.45 troy ozs. Note: One handle “as is”.

259

262

262. A George III Sterling Silver Argyle, marked PN, London, 1768, cylindrical form with a hot water jacket filled through a small spout opposite the main goose neck spout, wicker covered silver handle at right angles to the spouts, gadroon border on hinged cover and foot rim, height 4 1/2 in., weight 12.55 troy ozs. $1200/1800

$2000/3000 W 260. A

Decorative Set of Twelve Silverplate Service Plates, marked “Royal Castle/ Sheffield/ EP”, gadrooned edge, anchor engraved crest, diameter 12 in. $500/750

261

261. A Regency Sterling Silver Coffee and Tea Service, Samuel and Charles Younge & Co., Sheffield, 1819-1820, comprising a coffee pot, teapot, sugar, and creamer; the coffee pot pear-form, teapot, sugar and creamer of compressed circular form, decorated with repoussé rococo scrolls on a stippled ground, coffee pot height 10 1/4 in., combined weight 86.60 troy ozs.

263. A George III Sterling Silver Cake Basket, London, maker WS, 1792-1793, navette-form with bright cut pierced rim and foot rim of foliate scrolls and stars, engraved crest and monogram in bowl center, reeded swing handle, height 10 1/2 in., length 13 1/2 in, weight 21.35 troy ozs. $1200/1800

$2000/3000 Provenance: Estate of a New Orleans lady. W denotes the lot is illustrated at www.nealauction.com

264

265

268

267. Two Pairs of Antique French Gilt Bronze Sconces, one two-light pair with lyre-form backplate, the other with foliate arms, lyre height 7 1/2 in., width 4 1/2 in., depth 3 in., extended height 4 in., depth 12 1/2 in. $500/700

267 (1 pair of 2)

265. An American or English Patinated Bronze Hanging Lantern, 19th c., cut and etched glass bowl within a circular frame suspended by chains, height 27 in., diameter 11 in. $1000/1500 266

264. A Lighthouse-Form Silverplate Cocktail Shaker, domed removable cover with wirework gallery, tapering cylindrical body, marked “A & T, Sheffield” on bottom, height 14 1/4 in. $400/600

266. A Gothic Gilt Lacquered Brass and Bronze Solar Lamp, mid19th c., American or English, font above clustered columnar standard, hexagonal plinth with cathedral facades below, stepped base on griffin brackets, disc feet, cut and etched glass shade, overall height 25 1/2 in. $700/1000

268. An Antique French Brass Telescope on Stand, 19th c., marked “A. Bardou, Paris”, on an oak and brass tripod stand, main tube length 38 in. $300/500

269. A Tiffany Favrile Glass Trumpet Vase, c. 1920s, fitted in bronze foot, designed by Leslie H. Nash, marked “Favrile LTC” on glass, “Louis C. Tiffany Furnaces, Inc.” on foot, height 15 in., diameter 6 1/4 in. $1200/1800 W 270. A Set of Steuben Air Twist

Stemware, after a design by Walter Teague, c. 1938, consisting of 8 wine/goblets, 8 champagne coupes and 8 cordials, each retaining original Steuben pouch, wine height 5 3/4 in. $1000/1500 W 271. A Venetian Blown Glass Figural

Tazza, standing blackamoor figure wearing court attire and supporting a fluted dish, height 10 3/4 in., diameter 6 in. $300/500 Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA. W 272. A Patinated Metal Figure of “The

269

Venus de Milo”, late 19th c., a half-size reduction after the ancient marble sculpture at the Louvre, height 41 1/2 in., width 11 in., depth 13 in.

273

$600/800 273. After Stefano Ricci (Italian, 17651837), late 19th/ early 20th c., bichromatic bronze “Bust of Menelaus”, from the Antique marble group restored by Ricci of Menelaus and Patroclus in the Loggia dei Lanzi, Florence, height 19 1/2 in. $1200/1800 274. A Good Pair of French Bronze Chevaux de Marly, late 19th c., after Guillame Coustou the Elder (French, 1677-1746), signature on base, retaining spears and bridles, height 23 in., width 20 in., depth 8 in. $800/1200

274

275. A Good Bronze Reduction of “Diana the Huntress”, after JeanAntoine Houdon (French, 1741-1828), following the life-size examples in the Louvre, the Frick Collection, and the Huntington Library, on a circular verde antico base, height 25 in. $1000/1500

275

Provenance: A Tulsa, Oklahoma estate collection.

W denotes the lot is illustrated at www.nealauction.com

278

276

279

277. A Carved and Ebonized Mahogany Two-Panel Folding Screen, c. 1890, probably French, inset with chinoiserie wallpaper figural landscape scenes beneath a reticulated frieze, casters, height 69 in., width 61 in. $600/900

277

278. An Antique Baroque-Style Carved and Ebonized Rosewood Cupboard or “Kussenkast”, probably late 19th c., of 17th c. Dutch inspiration, flared cornice centered by cabochon crest with birds and scrolled acanthus, molded frieze divided by lion’s masques, paneled doors, columnar pilasters (central column slides to expose key hole), interior with two shelves each fitted with a long drawer, plinth base with two drawers, bell feet, height 74 in., width 80 1/2 in., depth 32 in. $3000/5000 Provenance: Purchased in Belgium in 1997.

276. An Antique Continental Parquetry, Carved and Ebonized Two-Part Valuables Cabinet, case fitted with 12 drawers; stand with two frieze drawers, turned and blocked trestle supports, conforming stretchers with finials, height 58 1/4 in., width 39 1/2 in., depth 18 1/4 in.

279. A Pair of Provincial Carved Fruitwood Bergères, 19th c., serpentine molded crest rails, padded arms, deep serpentine seats, acanthus-carved cabriole legs.

$2000/3000

280. A Pair of Louis XVI-Style Doré Bronze-Mounted Rouge Marble Pedestals, square tops, fluted columns with bronze collars, square bases, height 47 1/2 in., width 10 3/8 in., depth 10 3/8 in. $1500/2500 281. A Pair of Venetian Carved Wood Blackamoor Candleholders, 19th c., with intricate detail, polychrome clothing, inset with glass eyes, holding scalloped tôle serving trays, rectangular wood plinths, height 15 1/4 in., width 14 in.

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$2500/3500

282. Follower of Gian Paolo Panini (Italian, 1691-1765), “A Pair of Capriccio Landscapes with Figures Amid Antique Ruins”, late 18th c., oils on canvas, unsigned, each 36 1/4 in. x 27 in., original 18th c. frames bearing old inventory numbers “2639” and “2640” in white paint.

Provenance: Ex-Collection of noted antiquarian David Stockwell. 280

$5000/7000

282 W denotes the lot is illustrated at www.nealauction.com

283. Attributed to Bon de Boullonge (French, 1649-1717), “The Assumption of the Virgin (Sketch for an Altarpiece)”, c. 1700, oil on canvas, unsigned, bearing an old paper label en verso of the stretcher, inscribed in an 18th c. (or very early 19th c.) hand: “Esquisse d’un tableau / du Maître—— / Tableau appartenant / à Mad. et M. F. J. Bousset / 12 Rue Thibaudeau / Poîtiers Vienne”; 29 in. x 16 in., unframed. 284

$5000/7000

Note: One of the most important French painters of the later 17th c., Boullogne was also a precocious harbinger of the new Rococo style in the early 18th c. He came from a large family of Parisian artists, headed by his father Louis the Elder (1609-1674). All four of Louis’ children became prominent artists: his daughters Geneviève (1645-1708) and Madeleine (16461710) were both accepted to the Académie Royale de Peinture et de Sculpture in 1659 as still-life painters. By attracting the notice of Colbert, Bon (possibly the most gifted of the family) became an unusually young Pensionnaire du Roi at the Académie Française de Rome, and combined an intense study of Roman Baroque painting with a long sojourn in Lombardy-Emilia, where he creatively absorbed the styles of Correggio, the Carracci, Guido Reni, Domenichino, and Albani. His brother Louis the Younger (1654-1733) enjoyed a very similar career—indeed making his pictures sometimes hard to distinguish from his brother’s—but his longer life made it possible for him to become eventually Rector (1717) then Director (1722) of the Paris Académie, and finally (1725) First Painter to the King, succeeding Antoine Coypel (1661-1722). Although Bon had been involved at Versailles in distinguished collaborations with Le Brun (1619-90) throughout the 1670s, and with Coypel at Toulouse in 1684, it is for his later religious works that he is most celebrated. He painted in the Chapels of St. Ambrose and St. Jerome at Les Invalides (1703), the Chapel Royal at Versailles (1709), and the Chapel of the Holy Sacrament at the parish church of Versailles (1711). His works after 1700 combine a brightly-keyed Italianism derived from Carlo Maratta and Francesco Albani (as Bon had studied them respectively in Rome and Bologna), with more up-to-date influences from Coypel and Charles de la Fosse (16361716), with whom he had collaborated at the Grand Trianon (1688). This very characteristic and highly spirited work clearly adumbrates the lighter key and livelier movement of the incipient Rococo, while retaining the saturated colors and bold gestures of the Roman High Baroque. Its ascription to Bon de Boullogne is as fully attested by his particular physiognomies as by his compositional flair. It is worth recording that a more sparsely populated but otherwise very closely similar Assumption was sketched at almost identical scale decades later by François-André Vincent (1746-1816), as the preliminary study for a lost altarpiece of 1771 in the Church of St-Jean-Baptiste in Arras (Rosenberg 1975, p. 82, no. 116).

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References: Hélène Guicharnaud, “Boullogne,” Grove Dictionary of Art, Jane Turner, ed., 34 vols, London, 1996, vol. 4, pp. 534-538; Anthony Blunt, Art and Architecture in France, 1500 to 1700, Harmondsworth, etc., 1953 and later, Chapter 8; Pierre Rosenberg, French Painting 1710-1774, Toledo (OH), Toledo Museum of Art, 1975.

284. A Pair of French Variegated Red Marble and Bronze Doré Mounted Urns, 19th c., acorn finals with acanthus mounted handles, baluster form with gilt bronze acanthus decorated stepped base, height 19 1/4 in., width 8 in. $2000/3000

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285. A Fine KPM Porcelain Plaque, 19th c., depicting a darkhaired maiden holding a pink rose, signed “Wagner” lower left, 11 3/4 in. x 9 3/4 in., in an elaborate reticulated gilt frame. $5000/7000

286. A Carved and Polychrome Blackamoor Figural Tabouret, 19th c., circular top with scrolled geometric design, naturalistic base, height 20 1/4 in., diameter 10 1/2 in. $1000/1500 287. An Italian Carved Walnut Sofa in the Baroque Taste, 19th c., shaped crest centered by a foliate cartouche, scrolled arms, molded seat rail, acanthuscarved cabriole legs, height 41 7/8 in., width 85 in., depth 27 in. $1000/1500 288. An Italian Neoclassical-Style Pietra Dura and Wrought Iron Guéridon, circular top with inlaid geometric design, three scrolled supports joined by ring stretcher, height 24 3/4 in., diameter 20 in.

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$800/1200 289. An Italian Rococo Carved and Painted Console Table, late 18th/early 19th c., serpentine marble top, pierced shaped foliate carved frieze, floral and acanthus carved cabriole legs ending in scrolled toes, height 32 1/2 in., width 46 1/2 in., depth 21 in. $2000/3000 290. A Pair of Venetian-Style Painted and Parcel Gilt Pedestals, stepped square tops, scrolled capitals with pendant leaves, flared bodies, stepped bases, height 31 1/4 in., width 22 1/2 in., depth 22 1/2 in. $1000/1500 287

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289 W denotes the lot is illustrated at www.nealauction.com

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291. An Antique Italian Baroque Lacca Povera Secretary Desk, the whole with light blue ground and reserves of figures in landscapes, upper case with broken arch cornice over two grillework doors, shelf interior; lower case with slant lid opening to fitted desk interior, serpentine case, three graduated drawers, bracket feet, height 90 in., width 40 1/2 in., depth 23 1/2 in. $2500/3500 292. A Fine Georgian Chinoiserie Cabinet on Chest, 18th c., the doors with raised gilt and paint decoration, chased brass strapwork hinges, fitted interior, the lower case with three drawers, molded base, bun feet, height 72 in., width 42 in., depth 21 1/2 in. $7000/10000 293. A Fine Art Nouveau Glass and Bronze Figural Lamp, early 20th c., the large bronze pheasant perched on a branch with grape leaves and clusters of purple, green and amber glass grapes, electrified, height 44 in., width 22 in., depth 10 in. $4000/6000

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294. A Pair of Antique Neoclassical Gilt BronzeMounted Green Variegated Marble Lamps, gilt ram’s head handles and foliate bronze frieze, on stepped square plinth with gilt bronze border, height 33 in., width 10 in., depth 7 in. $2500/3500 295. An American Gothic Hall Lantern, 19th c., pierced arched crest, hexagonal form with Gothic frosted and cut glass panels, height 32 in., diameter 13 in. $600/900 294

Provenance: Longwood Plantation, built c. 1785, East Baton Rouge Parish, LA.

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W 300. John Gould

296. A Fine Pair of Napoleon III Gilt Bronze Sconces, mid-19th c., each scrolled and foliate backplate issuing three arms, height 20 in., width 19 in., depth 14 in. $1500/2500 W 297. John Gould (English,

1804-1881), “Oreotrochilus Leucopleurus”, “Sporadinuuus Riccordi”, “Bourcieria Conradi”, and “Spathura Peruana”, four handcolored lithographs from A Monograph of the Trochilidae, or Family of Humming-birds, 1849-61, 20 in. x 14 in. matted. (4 pcs) $1000/1500 W 298. John Gould (English,

1804-1881), “Chlorostibon Osberti”, “Eucephala Chloroceophala”, “Phaeoptila Sordida”, and “Amazilia Castaneiventris”, four hand-colored lithographs from A Monograph of the Trochilidae, or Family of Hummingbirds, 1849-61, 20 in. x 14 in., matted. (4 pcs) $1000/1500 W 299. John Gould (English,

1804-1881), “Sporadinus Elegans”, “Thalurania Tschudi”, “Eriocnemis Nigrivestis”, and “Thalurania Refulgens”, four hand-colored lithographs from A Monograph of the Trochilidae, or Family of Hummingbirds, 1849-61, 20 in. x 14 in. matted. (4 pcs) $1000/1500

(English, 1804-1881), “Chlorostilbon Phaeton”, “Chlorostilbon Alice”, “Oreotrochilus Adela”, and “Chlorostilbon Auriceps”, four hand-colored lithographs from A Monograph of the Trochilidae, or Family of Humming-birds, 1849-61, 20 in. x 14 in. matted. (4 pcs) $1000/1500 W 301. John Gould

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(English, 1804-1881), “Tinnunculus Alaudarius” & “Buteo Vulgaris”, two hand-colored lithographs from Birds of Great Britain and Birds of Europe, 1849-61, 20 in. x 14 in., matted. (2 pcs) $600/900 302. Ida Rittenberg Kohlmeyer (American/New Orleans, 19121997), “Yellow Study”, 1958, oil on masonite, signed and dated lower left, 36 in. x 36 in., period frame. $6000/8000 Provenance: Descended in a New Orleans family.

302 W denotes the lot is illustrated at www.nealauction.com

303. Edgar Alwin Payne (American, 1883-1947), “Laguna Seascape”, 1911, oil on canvas, signed and dated lower right, titled en verso, 24 in. x 28 in., framed. $10000/20000 Provenance: Peoria Society of Allied Artists, by repute; Estate of James P. Raymond (1931-2011), New Orleans, LA

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304. Wayman Adams (American/New Orleans, 1883-1959), “Mother and Children”, oil on wood panel, signed lower left, 8 in. x 8 1/2 in., period frame. $4000/6000

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305. Wayman Adams (American/New Orleans, 18831959), “His Heir, New Orleans China Town”, oil on wood panel, signed lower left, signed and titled en verso, 8 3/4 in. x 8 1/4 in., period frame. $1500/2500

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306. Helen Maria Turner (American/Louisiana, 1858-1958), “Portrait of a Young Woman Seated in an Interior, New Orleans”, oil on canvas, unsigned, two handwritten labels inscribed Dr. James M. Todd, Jr. and Louvre Frame Co., New York City en verso, 40 1/2 in x 30 1/4 in., period frame.

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Provenance: Descended in the family of the artist: to her cousin Margaret Texada Todd, Estate of Dr. James M. Todd, Jr., 17 Richmond Place, New Orleans, LA.

308. Jose Mejia Vides (Salvadoran, 19031993), “Indian Woman”, oil on woven canvas, signed and dated “1935” lower right, 17 1/2 in. x 15 1/2 in., in an attractive carved wood frame.

Note: To be included in Kaycee Benton’s forthcoming catalogue raisonné on Helen Marie Turner.

$700/1000

$25000/35000

307. William Woodward (American/New Orleans, 1859-1939) “Gateway to Jackson Square, Cabildo and St. Louis Cathedral”, 1935, etching, pencil-signed lower right and inscribed “1st proof” lower left, signed and dated in plate lower right, with Art Association of New Orleans label en verso inscribed “Awarded 1st Prize 1936”, titled and signed by artist, plate 11 3/4 in. x 9 3/4 in., sight 12 3/8 in. x 10 in., framed.

Provenance: Estate of Doris Zemurray Stone, New Orleans, LA.

$1000/1500 Note: This etching is plate 9 in French Quarter Etchings of Old New Orleans by William Woodward (New Orleans: The Magnolia Press, 1939).

W denotes the lot is illustrated at www.nealauction.com

311. Colette Pope Heldner (American/New Orleans, 19021990), “Old Napoleon House Courtyard, New Orleans, LA”, 1928, oil on board, signed lower left, signed, titled and dated en verso, 20 in. x 16 in., period frame. $3000/5000 309

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309. Theodore “Fonville” Winans (American/ Louisiana, 1911-1992), “Dixie Belles”, 1938, silver gelatin print mounted on board, signed and dated lower left, titled, inscribed, and numbered 26/50 en verso, 16 in. x 19 3/4 in., unframed. $6000/8000 Provenance: Descended in the family of the artist.

Note: Colette and Knute Heldner first came to New Orleans in the winter of 1923. They were enchanted by the Vieux Carré and became central figures in the active art colony there. During the late 1920s, Colette painted a series of impressionistic courtyard scenes often including a figure of a Creole woman wearing a tignon. Employing a colorful palette, painterly brushwork and strong use of light and shadow, Heldner depicts the Creole woman descending the staircase along the side of the courtyard, which is visible through the arched supports of the colonnade.

312. A Large Newcomb College Art Pottery Vase, 1918, decorated by Anna Frances 312 Simpson in a landscape design of moss-laden live oaks and a fence, semi-matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. JU88 and shape no. 268, height 10 3/4 in. $5000/7000

310. Hunt Slonem (American/Louisiana, b. 1951), “Point Coupee Cardinals, Lakeside”, 2009, oil on canvas, signed, titled and dated en verso, 20 in. x 16 in., framed. $2000/3000

Note: The landscape on this vase includes a fence, which is rare in the execution of this design. A much smaller vase decorated by Sadie Irvine with a similar design is illustrated in Newcomb Pottery (Schiffer, 1984), cat. no. 156, p. 136.

313. A Shearwater Pottery Plate, c. 1950, thrown by Peter Anderson, design by Walter Anderson with birds and waves, white slip with colors underglaze, quarter size impressed mark, diameter 10 1/2 in. $4000/6000 314. A Newcomb College Art Pottery Vase, 1921, decorated by Anna Frances Simpson in the “Tall Pine and Moon” motif, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. LN55, and shape no. 236, height 6 3/4 in. $2000/3000

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315. A Large Newcomb College Art Pottery High Glaze Pitcher, 1901, probably decorated by Marie de Hoa LeBlanc, decorated with sarracenia (pitcher plants) in cobalt blue and dark green underglaze, base marked with Newcomb cipher and reg. no. A36, height 14 1/2 in.

316. A Newcomb College Art Pottery Vase, 1924, decorated by Sadie Irvine in an Art Deco poppy motif, semi-matte glaze with blue, green, pink and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. OB94, and shape no. 321, height 9 1/4 in. Note: Condition $1000/1500

$3000/5000 Note: This monumental pitcher was exhibited at the Pan-American Exposition in Buffalo in 1901. Newcomb Pottery received a silver medal for their entries. A period photo of the Exposition display case is illustrated on page 31 of Jessie Poesch’s Newcomb Pottery (Schiffer, 1984). The pitcher offered here is shown within the left rear of the case standing above its matching tankards. These four tankards were decorated by Marie de Hoa LeBlanc and were sold in these salesrooms on August 2, 2003, lot 382. This remarkable pitcher and the four tankards descended within the estate collection of Marie de Hoa LeBlanc.

317. A Newcomb College Art Pottery Vase, 1922, decorated by Corinne Marie Chalaron in a stylized Deco iris motif, matte glaze with blue, green, yellow and pink underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. MG52, and shape no. 73, height 6 1/4 in. $600/900

W denotes the lot is illustrated at www.nealauction.com

318. Ellsworth Woodward (American/New Orleans, 1861-1939), “View of Holy Name of Jesus Church from Audubon Park”, oil on canvas, signed lower left, 34 1/2 in. x 60 in., original M. Grieve giltwood frame. $80000/120000 Provenance: Acquired from the artist c. 1922-1923, descended in a New Orleans family. Exhibited: Historic New Orleans Collection, September 30, 2011 to March 19, 2012; Newcomb Art Gallery, April 25 to June 30, 2012. Note: Etienne de Boré (1741-1820), the first Mayor of New Orleans, owned a sugar plantation in the early 19th century, which was located on the site of modern-day Audubon Park. He used that land to grow the first commercial crop of sugarcane in Louisiana. This plantation was eventually inherited by Boré’s grandson, noted historian Charles Gayarré (1805-1895). Boré’s daughter, Françoise de Boré (1775-1830), and son-in-law, Pierre Foucher (1759-1832), who owned adjoining property, bought the Boré land from Gayarré in 1825. Pierre and Françoise Foucher’s son, Louis (1798-1869), who eventually became the Marquis de Circé, abandoned the property and eventually sold it. It was not until the 1880s, when New Orleans businessmen began to campaign for a World’s Fair in the city, that prospects for the park began to improve. Major Edward A. Burke (1839-1928), editor of the Times-Democrat, promoted the idea in the paper and eventually gained the support of Edmund Richardson, the wealthiest businessman, cotton planter, and broker in New Orleans. The city council donated the park land for the project and the World’s Industrial and Cotton Centennial Exposition commenced in 1884. The exposition was held in 1884 to commemorate the 100 year anniversary of the earliest surviving record of export of a shipment of cotton from the United States to England in 1784. The main attractions included a Horticultural Hall, 5000 electric lights, designs for electric streetcars, an observation tower, a Mexican exhibit, and the Liberty Bell (on loan from Philadelphia). The event was a pivotal turn in the history of the park. Ron Forman and Joseph Logsdon state that John Ward Gurley, Jr. and Lewis Johnson, “provided the leadership that willed a true park into existence. More than any others, these two men deserve designation as the fathers of Audubon Park.” (Audubon Park, p. 104) A real estate boom during the 1890s, including the planning of Tulane and Loyola Universities’ campuses, helped to boost the park project’s popularity.

318 (detail)

In 1897, John Charles Olmsted (1852-1920), step-son of the celebrated landscape architect, Frederick Law Olmsted (1822-1903), who notably was a co-creator of Central Park in New York, followed in his step-father’s footsteps by becoming first an apprentice, and then a partner in the family firm. Olmsted became devoted to the project of developing Audubon Park for the city of New Orleans and spent much time and effort designing elegant landscape features such as bayous and promenades for the park. The commission loved Olmsted’s plans, but was lacking funds; Olmsted agreed to build the park slowly. Additionally, there were arguments as to what features should be added to the park. Suggested improvements included a beer hall, a vaudeville house, a dairy farm, a pecan tree plantation, a restaurant, a carousel, a private aquarama show, a polo club, a streetcar loop through the park, a large stadium, an art museum, and a statue of Jefferson Davis. But it was Olmsted who insisted that it be “essentially a landscape park.” (Audubon Park, p. 120) In the early 20th century, Jacob K. Newman, son of Isidore Newman, helped get support for the project and work commenced in 1916. Many of Olmsted’s original design ideas were incorporated, including a lake, the St. Charles main entrance with a fountain, and the gazebos. Olmsted saw his vision completed before his death in 1920. His firm continued to work on the park and added other features later, including the Audubon Zoo on the river side of the park. During the decades of planning and developing Audubon Park, the surrounding areas also went through a period of growth. The Jesuits had envisioned a parish and college near Audubon Park since the Cotton Centennial of 1884. Father John O’Shanahan, SJ, received permission to purchase part of the Boré/Foucher land opposite the park. The first church built on the site was a small Gothic structure created entirely of native wood, called the “Little Jesuit Church” to distinguish it from the downtown church on Baronne Street. It was blessed and dedicated in 1892. Plans for a college began in the early 1900s and campus construction commenced in 1909. By 1913, the small wooden church was outdated and unable to hold the growing congregation. Kate McDermott donated a total of $150,000 for a new church to be built in memory of her brother, Thomas McDermott. Rathbone deBuys (1874-1960) designed the church and it was completed in 1918. The style of the church is particularly English and “is said to be modeled after Canterbury Cathedral, but its enormous square, pinnacled tower in the center of the façade is a feature of many English churches. Viewed from Audubon Park across the avenue, the tower rising above the treetops presents a scene quite evocative of an English landscape.” (Buildings of Louisiana, p. 129) Reference: L. Ronald Forman and Joseph Logsdon. Audubon Park: An Urban Eden. New Orleans: Audubon Park Press, 1985; Holy Name of Jesus Website www.hnjchurch.org/about; Karen Kingsley. Buildings of Louisiana. New York: Oxford University Press, 2003.

Continued on page 83

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Ellsworth and William Woodward had a profound and critical influence on the art and aesthetics of New Orleans and the Gulf South during the five decades that they lived and worked there. Educated in New England at two of the country’s most advanced art schools, the brothers were well informed about current art styles, techniques and movements. Both were founders of the Newcomb College art school in the mid-1880s where they taught and advocated the principles of the Arts & Crafts movement. The art historian George Jordan writes “…that much of the South, especially the Gulf Coast, was first introduced to the style of painting called Impressionism through the paintings and teachings of the Woodwards, especially Ellsworth.”1 Beginning in 1884, Ellsworth Woodward traveled extensively to Europe in the summers and studied the current artistic styles, both traditional and avant garde. In 1895 and 1908, he spent the summers in France. In other years he visited Germany, Spain and Italy. Woodward would have been exposed to Impressionist paintings and would likely have seen Claude Monet’s monumental canvases of water lilies painted at Giverny. One can certainly see similarities between those

works by Monet and Woodward’s painting offered here in the horizontal monumentality, the palette and in the Impressionist reflection of the flora, foliage and sky in the water. View of Holy Name of Jesus Church from Audubon Park is a tour de force of American Impressionism. It is certainly Ellsworth Woodward’s most accomplished, and seemingly largest, painting. Known primarily as a watercolorist, Woodward created a small but important group of oil paintings. Heretofore, none of them rival this canvas in terms of sheer beauty and grandeur, balanced arrangement of composition and dalliance of Impressionist light and color. The Newcomb College campus was originally located on Washington Avenue in the Garden District. In 1917, it moved to the Tulane University Campus on Broadway. Holy Name of Jesus Church was dedicated in December, 1918. The Woodward brothers lived in the University district near Tulane and frequented Audubon Park. The view depicted here would have been seen in Ellsworth Woodward’s daily walks through the park. Reference: 1 Complementary Visions of Louisiana Art, The Historic New Orleans Collection, 1996, p. 43

Neal Auction Company is pleased to donate monies from the sale of this painting, lot 318, to the Newcomb Art Gallery in support of the exhibition, “Women, Art and Social Change: The Newcomb Pottery Enterprise.” The Gallery is partnering with the Smithsonian Institution Traveling Services (SITES) for a national tour of the show, beginning October 2013 through October 2014. W denotes the lot is illustrated at www.nealauction.com

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319. Robert Henri (American, 1865-1929), “Study of Female Nudes”, ink on paper, pencil-signed “Robert Henri” lower left, 12 1/2 in. x 20 in., framed.

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321. Anthony Thieme (American, 1888-1954), “Charleston Doorway”, oil on canvas, signed lower right, 16 in. x 12 in., framed. $5000/7000

$1200/1800 Provenance: Purchased from Mary Lublin Fine Arts, New York, 2007. 320. Edwin Ambrose Webster (American/Provincetown, 1869-1935), “Cote d’Azur”, oil on canvas, unsigned, 19 3/4 in. x 23 1/2 in., period frame; accompanied with exhibition catalogue “E. Ambrose Webster” at Provincetown Art Association and Museum, curated by Miriam Stubbs and Robyn Watson, 2001. $3000/5000 Provenance: Acquired by the present owner from East End Gallery, Provincetown, Massachusetts, discovered in a Provincetown estate, c. 1963.

322. William Tolliver (American/Louisiana, 1951-2000), “The Harmonica Player”, pastel on paper, signed lower left, sheet 32 1/8 in. x 40 in., framed. $7000/10000 Provenance: Live Oak Gallery, Lafayette, LA

323. William Tolliver (American/Louisiana, 1951-2000), “Autumnal Landscape with Winding Road”, oil on canvas, signed lower left, 30 in. x 36 in., framed. $3000/5000 Provenance: Live Oak Gallery, Lafayette, LA 323

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325. William Aiken Walker (American/South Carolina, 1838-1921), “Cabin Scene in Georgia with Cotton Pickers in the Field”, oil on academy board, signed lower left, inscribed in Danish or Swedish “.... in Savannah, Southern America 1917” on backing paper, 9 in. x 12 in., framed.

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$12000/18000 Provenance: Private Collection, United Kingdom. 324. Ellsworth Woodward (American/New Orleans, 1861-1939), “Seville Archway”, 1905, and “Women Entering Alhambra”, two watercolors, signed and dated lower right and left respectively, sight 14 3/4 in. x 10 1/4 in. and 15 1/2 in. x 11 1/4 in., framed. $1500/2500

Note: To be included in John Fowler’s forthcoming catalogue raisonné on William Aiken Walker. 326. Alexander John Drysdale (American/New Orleans, 18701934), “Dusk on the Louisiana Bayou”, 1909, oil on board, signed and dated lower left, remnants of labels en verso, 10 1/2 in. x 17 in., framed. $2000/3000

326 W denotes the lot is illustrated at www.nealauction.com

327. Robert Wadsworth Grafton (American/New Orleans, 1876-1936), “Jahncke Shipyard, Madisonville, Louisiana”, 1918, oil on canvas, signed and dated lower right, inscribed “(P)ainted for Janche [sic]...J.Sec. Navy” on stretcher, 30 in. x 33 in., original gilt frame.

328. Howard Chandler Christy (American, 18721952), “Live Oak, New Orleans”, 1921, oil on canvas, signed and dated lower right, 40 in. x 30 in., period frame. $25000/35000

$18000/25000 Provenance: Collection of Mr. and Mrs. Mark Moorman, Michigan City, IN; gifted to the current owner c. 1975. Note: Madisonville, Louisiana has a long history in shipbuilding and naval affairs; from the early 1800s, two shipyards existed, including a U.S. Navy facility. The ships were built on the edge of the Tchefuncte River and then floated down the river and across Lake Pontchartrain to the Gulf of Mexico, a difficult feat due to the shallow areas of the river and lake.

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By the late 1800s, Fritz Jahncke had immigrated to America from Germany and began a revolutionary company, Jahncke Service Incorporated, which is credited with the installation of the first paved sidewalks and streets in New Orleans. After purchasing the Baham Shipyard in Madisonville in the early 1900s, he expanded his business on both the North and South shores of Lake Pontchartrain and Jahncke Shipyard became a well-known establishment on the Tchefuncte River. In 1917, when the United States entered World War I, the United States Navy offered Jahncke a contract to build six ships. Based on images of the Jahncke Shipyard from 1918, it is possible that the ships in the process of being built in this painting could be the SS Abbeville (left) and the SS Bayou Teche (center). The SS Bayou Teche was launched in March 1918 while the SS Abbeville was not launched until January 1919, after the war had ended. Robert Grafton visited New Orleans during the winters from 1914-1918 and painted many different areas of the city and surrounding areas, including the New Basin Canal, a structure which Fritz Jahncke was instrumental in creating. By the time Jahncke Shipyard was building vessels for the war effort, Fritz Jahncke had passed away and his sons, Ernest, Paul, and Walter had taken over the family business. It is recorded in the book A Grand Tradition: The Hoosier Salon Art and Artists 19251990 that Grafton also exhibited portraits of both Ernest and Stanton Jahncke. The pencil-inscription on the backing paper en verso of this canvas reading “(P)ainted for...Janche [sic]...J. Sec. Navy” most likely refers to Ernest Jahncke and the fact that he was later appointed Assistant Secretary of the Navy in 1929.

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Reference: Ann Gilbert, “When Rivers were Roads,” Inside Northside (2003), http://www.insidenorthside.com/april_may03/art16.htm. Megan Hill, “The Jahncke Shipyard: Building a Place in History,” Inside Northside (2011), http://www.insidenorthside.com/the-jahncke-shipyard-building-a-place-in-history/. Judith Vale Newton, A Grand Tradition: The Hoosier Salon Art and Artists 1925-1990, Indianapolis: Hoosier Salon Patrons’ Association, 1993, p. 215.

Note: Howard Chandler Christy was one of the nation’s most distinguished and accomplished illustrators of the first half of the 20th century. Christy provided illustrations for the leading periodicals and magazines of the day and by 1910 was commanding the large sum of $1,000 a week for his commissions. In the 1920s, Christy turned away from illustration as the good economic times created a strong market for portrait commissions. He painted many notables and celebrities of the period and traveled extensively to fulfill the demand for his services. In 1921, Christy traveled to New Orleans, Dallas and Tulsa. The large landscape offered here was painted during his visit to New Orleans in that year. An impressionist and painterly view of a large moss-laden live oak tree, the work shows the influence of his teacher and mentor William Merritt Chase. Likely depicting a scene in City Park or Audubon Park, the painting reflects the local fascination with the live oak as a subject of great regional identity. As with the landscape designs created by the decorators at Newcomb Pottery, the live oak tree achieves a monumental, almost mythical status, imbuing the scene with a unique sense of place and atmosphere.

329. Jules André Smith (American/Florida, 1880-1959), “Artist’s Sketchbook”, 1927-28, a bound collection of over 475 miniature compositions in watercolor and crayon (ranging in size from 3 1/4 in. x 2 1/2 in. to 2 1/2 in. x 4 in.) for drawings, paintings, portraits and prints, with the artist’s monogram on front and back covers; inside front cover inscribed in the artist’s hand, “These date from my first winter in Florida / 1927-28”, and in a different hand, “Property of A[ttilio]. J. [‘Duke’] Banca [1901-1984] Stony Creek, Conn.”, the handsome half-leather-bound album contained in a fine archival clamshell box under linen covers, with Smith’s abstract watercolor composition from the interior album cover reproduced in silkscreen on the outer cover, and with a reproduction of his added date of “1931-32”. $5000/7000 Note: This album records the prodigious output of Smith’s “first winter in Florida,” to which he had been introduced by his close friend ‘Duke’ Banca. Deciding to settle in Winter Park, Smith acquired a sizeable property in neighboring Maitland, where beginning in 1937 he constructed an ideal artistic compound he named The Research Studio which survives today as the Maitland Art Center. In the buildings he designed for The Research Studio, Smith introduced extensive motifs and imagery from the Mesoamerican world, as well as iconographies suggestive of Christianity, Buddhism, and other faiths; but the early album offered here showcases his fundamental devotion to abstract modernism. Its beautifully composed small compositions are mainly executed in grisaille watercolor, though other media are often incorporated, culminating in brilliant color. Smith’s major publication was a privately-printed book of 1937 called Art and the Subconscious, in which he espoused the concept of “automatic” composition: its 38 illustrations—each accompanied by an 8-line poem—reproduce drawings that he made at a uniform “12 by 17 inches”. Their unifying thread is markedly Surrealist; but the “purer” abstractions offered here succinctly summarize his first twenty years of artistic experience, and offer a comprehensive encyclopedia of the motifs that organize and illuminate his extraordinary art.

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References: André Smith, Art and the Subconscious [“In Explanation;” “Drawings;” “Verses;” and “Postscript”], Maitland, FL, 1937; Ginny C. Seibert, The Legacy of André Smith, M.A. thesis, University of Central Florida, Orlando, 2005, See also www.nealauction.com for complete note

330. Clementine Hunter (American/Louisiana, 1886-1988), “Quan Quan Duck with Dock and Boat”, c. 1945-50, oil on paper, signed “Clemence” lower right, monogrammed in pencil lower left, sight 10 1/2 in. x 13 1/2 in. $5000/7000 Provenance: Estate of Leo Gold, Alexandria, Louisiana; descended in the family. Note: The history of Melrose Plantation, the home of Clementine Hunter, begins with Marie Therese CoinCoin, a slave born in 1742 into the household of Louis Juchereau de St. Denis, first commander of the French post at Natchitoches. Notably, Marie Therese gained her freedom and became the matriarch of a Franco-African community of prominence and wealth. Her romantic involvement with the French settler Claude Thomas Pierre Metoyer produced ten children of mixed heritage. The Metoyer gens de coleur libre built an agricultural empire on Cane River. The center of the holdings was Yucca plantation which Marie Therese acquired in 1796.

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James Register was an early supporter and friend of Clementine Hunter who first met her in 1943. Almost thirty years later, in 1971, he wrote a storybook, The Joyous Coast, which was illustrated by Clementine Hunter with early works she created in the 1940s. The fable is about Cane River and its “Quan Quan ducks” and pays tribute to the legend of Melrose Plantation. Marie Therese’s African name, Coincoin, was pronounced “quan-quan” and Register named the ducks as such to honor her legacy. Hunter’s paintings of the “Quan Quan ducks” are rare and infrequently seen. References: Gilley, Shelby R., Painting by Heart: The Life and Art of Clementine Hunter, Louisiana Folk Artist, Baton Rouge: St. Emma Press, 2000. Wilson, James L., Clementine Hunter: American Folk Artist, Gretna: Pelican Publishing Co., 1988.

331. Clementine Hunter (American/Louisiana, 1888-1986), “Two Quan Quan Ducks”, c. 1945-50, oil on paper, signed “Clemence” lower left, monogrammed in pencil lower right, sight 10 1/2 in. x 13 1/2 in. $5000/7000 Provenance: Estate of Leo Gold, Alexandria, Louisiana; descended in the family. 331 W denotes the lot is illustrated at www.nealauction.com

335. William S. Robinson (American/Mississippi, 18611945), “Steamboat Landing, Natchez”, 1943, oil on academy board, signed lower right, titled and dated “Jan 13-43” en verso, 9 1/8 in. x 13 1/4 in., attractively framed. $4000/6000 Note: William S. Robinson was an important member of the Old Lyme Art Colony in Old Lyme, Connecticut in the early 20th century. Following the death of patron Florence Griswold in 1937, Robinson left Old Lyme and relocated to Biloxi, Mississippi at the recommendation of his friend, noted New Orleans artist William Woodward. He continued to create impressionistic landscapes, trading the Connecticut scenery for the charming images of shrimp boats and Southern shanties. The painting offered here, “Steamboat Landing, Natchez”, is a muted, softly rendered view of a dock building along the banks of the Mississippi River with a steamboat underway on the left. Dating to 1943, this 333 painting is a rare impressionist and documentary view of the river in Natchez during this time period.

332

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332. Clementine Hunter (American/Louisiana, 18881986), “Two Quan Quan Ducks with a Boat”, c. 1945-50, oil on paper, signed “Clemence” lower right, monogrammed in pencil lower left, sight 10 1/2 in. x 13 1/2 in.

W 336. Charles

$5000/7000 Provenance: Estate of Leo Gold, Alexandria, Louisiana; descended in the family. 333. Achille Perelli (Italian/New Orleans, 1822-1891), “Nature Morte: Red Snapper”, watercolor, signed and inscribed “N.O.” lower left, sight 28 in. x 17 in., framed. $8000/12000

335

Provenance: Collection of James and Berthe Amoss, New Orleans, LA.

$250/350 334. Alexander John Drysdale (American/New Orleans, 18701934) “Louisiana Landscape with Sun Reflecting on the Bayou”, 1923, oil wash on board, signed and dated lower right, sight 19 1/2 in. x 29 1/2 in., framed. $2500/3500

de Wolf Brownwell (American, 1822-1909), “A Louisiana ‘Pine Woods Cottage’, G.W. Compton’s Rapides Parish”, graphite on paper, initialed lower right and titled lower center, 8 1/2 in. x 13 1/8 in., unframed.

337

337. Joseph Rusling Meeker (American/ Louisiana, 1827-1889), “Bayou at Twilight”, 1886, oil on canvas laid on board, signed and dated lower middle, 22 in. x 29 1/2 in., framed.

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$15000/25000 Provenance: Sotheby’s, New York, January 30, 1985, lot 216; to a New Orleans Collector. 338. Jacques Guillaume Lucien Amans (French, 18011888, active New Orleans, 1836-1888), “Portrait of a Creole Woman in White”, oil on canvas, signed upper left, 36 in. x 28 in., framed.

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$8000/12000 339. An American Late Federal Walnut Clerk’s Desk, early 19th c., probably South Carolina, slanted foldover top, fitted interior, one drawer below, turned tapered legs, height 44 1/2 in., width 40 in., depth 26 in. Note: Pine and poplar secondary woods. $800/1200

340. An American Late Classical Carved Rosewood Single-Door Armoire, c. 1830, probably Prudent Mallard, New Orleans, flared cornice, single mirrored door with molded and beaded surround, plinth drawer, bracket feet, height 95 1/2 in., width 51 in., depth 26 in. $4000/6000 Note: The fixed construction, proportions and case form of this armoire are very similar to those on an armoire accompanied by the bill of sale from Prudent Mallard sold by Neal Auction Company as lot 308 on September 30, 2006 and to that on an armoire documented to Mallard at Gallier House, New Orleans. The bold beaded molding surrounding the door and plinth drawer relates closely to those seen from the New Orleans workshop of Dutreuil Barjon Sr. (b. 1799) and Dutreuil Barjon Jr. (ca. 1821-1870) Reference: Dubrow. American Furniture of the 19th c., 1840-1880, p. 151. Moscou. New Orleans’ Free-Men-of-Color Cabinetmakers in the New Orleans Furniture Trade, 1800-1850 p. 46; Ibid. fig. 9.

W denotes the lot is illustrated at www.nealauction.com

344. A Fine and Rare American Carved Mahogany Miniature Tester Bed, 19th c., probably Louisiana, flat tester, ring and balusterturned posts, shaped headboard, brass ferrules and casters, height 23 3/4 in., length 20 1/2 in., width 14 3/8 in. $1200/1800 Provenance: Longwood Plantation, built c. 1785, East Baton Rouge Parish, LA. 344

W 341. An American Southern Carved

and Painted Pine Miniature Hanging Chest, c. 1851, Savannah, scalloped backsplash, two over two drawers, on pencilinscribed “Maid[sic] for Ruth by her Pa” with city and date, height 8 1/4 in., width 7 7/8 in., depth 4 in. 342

$400/600 342. A Fine American Rococo Carved Rosewood Dressing Chest, mid-19th c., New Orleans, possibly Prudent Mallard, arched cornice surmounted by flowering urn, molded mirror flanked by bracketed candle shelves, ovolo corner marble top, conforming case with three drawers, plinth base fitted with a drawer, height 92 in., width 46 1/2 in., depth 23 in. $4000/6000

W 345. An American

Note: This dressing chest shares several elements found within the important Mallard bedroom suite at Lansdowne in Natchez. A similar crest may be found on the half tester bed and the moldings and ovolo corners relate to the armoire in this well-known suite.

Paint-Decorated “Fancy” Child’s Rocking Chair, 19th c., yellow ground, arched crest with fruit and floral motif, caned seat, turned legs, stretchers, rockers.

343. A Rare Louisiana Carved Cypress Armoire, 19th c., molded cornice, paneled doors with fiche hinges, interior with shelves and medial belt of drawers, six panel back, shaped skirt, petite cabriole legs, height 80 3/4 in., width 51 in., depth 21 1/2 in.

343

Note: The ring and baluster turnings on this miniature bed are very similar to those on two Lower Mississippi River Valley mahogany beds from River Road collections: The first by Neal Auction Company as lot 385 on May 17, 2003 at Houmas House. The other sold as lot 129 on December 2007 at Bocage Plantation. The turnings also relate to several other River Road examples, including beds at Parlange Plantation, the Jacques Dupré House, and a bed in the Sebastian Louis Kleinpeter House in Baton Rouge, illustrated in The Magazine Antiques, April 1991, pl. VII, p. 736.

$300/500 Provenance: Longwood Plantation, built c. 1785, East Baton Rouge Parish, LA.

$4000/6000

W 346. An American

Note: The use of cypress primary wood on this armoire is rare, but known in a number of examples from Bayou Lafourche and the Acadian Prairie. The door construction and restrained apron seen here relate closely to those on two petite armoires in the Deshotels and Stromeyer collections respectively. The belt of drawers and six panel back seen on this armoire are also found on many Louisiana armoires of the period.

Federal Gilt and PaintDecorated “Fancy” Chair, early 19th c., green ground, the crest with reserve panel of shell and oak leaves, reticulated slat with spherules, shaped seat rail and rush seat, turned legs, stretchers, ball feet.

Reference: Holden, et. al. Furnishing Louisiana, Creole and Acadian Furniture 1735-1835. p. 199, fig. 97-98 and pp. 170-175.

$400/600

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347. George David Coulon (France/New Orleans, 1822-1904), “Indian Encampment at Night”, 1851, oil on academy board, signed, dated and inscribed en verso, 6 1/4 in. x 5 1/2 in., unframed. $1200/1800 Provenance: Acquired by the present owner from a Vidalia, Louisiana collection.

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348. John Antrobus (American, 1831-1907, active New Orleans 1859-60), “Early Morning on the Bayou Among the Cypress Trees”, oil on canvas, signed lower left, inscribed in pencil on top stretcher bar “B...hy Bayou”, 13 in. x 9 in., in an antique giltwood frame. $4000/6000 Note: John Antrobus emigrated from England in 1850. Arriving in Philadelphia, he subsequently lived in Savannah, GA and Montgomery, AL before opening a studio in New Orleans in 1859. The January 26, 1859 edition of The Daily Crescent announced his plan to paint a series of twelve large pictures of Southern life. The article states that the artist “was impelled to the immense undertaking by the determination to vindicate the claims of the scenery of the South to the consideration of artists…..Artists roam the country of the North, turning out pictures by the hundred yearly, but none come to glean the treasures with which the grand and beautiful country of the South and its peculiar life abound.” It seems that Antrobus only completed two of the paintings in the series, a cotton plantation scene now in a private collection, and the monumental Plantation Burial at The Historic New Orleans Collection. John Antrobus did paint other views of the swampy Louisiana landscape such as the work offered here. These works are characterized by a distinctive style in the rendering of the cypress tree canopy, a winding bayou tightly framed by trees and a small grouping of figures or birds; in this case, two men in a pirogue in the middle of the composition. His paintings of Louisiana are quite rare as Antrobus left New Orleans in 1860, living first in Chicago and later settling in Detroit for the last several decades of his life.

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349. Knute Heldner (Swedish/New Orleans, 1877-1952), “Twilight on the Louisiana Bayou”, oil on canvas board, signed lower right, Farish Art Store, New Orleans label en verso, 11 in. x 12 1/8 in., framed. $2500/3500 W denotes the lot is illustrated at www.nealauction.com

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351. Brett James Smith (American/ New Orleans, b. 1958), “Off Guard”, oil on canvas, signed and dated “1986” lower right, label from Wild Wings Gallery, One Poydras Street, New Orleans, LA, and artist’s biography en verso, 17 3/4 in. x 21 1/4 in., framed.

350

$1500/2500 Provenance: Estate of Doris Zemurray Stone.

353

350. George Louis Viavant (American/New Orleans, 1872-1925), “Nature Morte: Two Quail”, 1921, watercolor, signed and dated lower left, sight 25 in. x 17 in., original frame. $7000/10000 Note: Quail were a favored subject of George Louis Viavant, examples of which are illustrated in George L. Viavant: Artist of the Hunt. What is most interesting about the painting offered here is that two quail are positioned so as to illustrate the breast of one and the back of the other. This large composition is finely executed and is a very good example of Viavant’s accurate depictions of the wildlife in southeast Louisiana. 352

Reference: Jordan, George E., George L. Viavant: Artist of the Hunt, The Historic New Orleans Collection, 2003.

352. Attributed to Joseph Rusling Meeker (American/ Louisiana, 18271889), “Morning on the Bayou”, oil on canvas, unsigned, 22 in. x 18 in., period gilt frame. $7000/9000 Provenance: The Old Print Shop, New York; Collection of the University of California, Los Angeles; Sotheby’s, Los Angeles, October 6, 1981, lot 388; to a New Orleans Collector. 353. Morris Henry Hobbs (American/New Orleans, 1862-1967), “Patio at 740 Royal Street, Labranche House”, 1938, watercolor, signed and dated lower left, 13 7/8 in. x 9 1/4 in., unframed. $800/1200 Provenance: Descended in the family of the artist. Note: 740 Royal St. was the address of Hobbs’ first New Orleans studio in the French Quarter.

354. Morris Henry Hobbs (American/New Orleans, 18621967), “In the Harbor at Fayette on Big Bay de Noc”, August 1940, watercolor, unsigned, titled and dated lower left, 9 7/8 in. x 10 7/8 in., unframed. $600/900 Provenance: Descended in the family of the artist.

354

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355. Alexander John Drysdale (American/New Orleans, 18701934), “Louisiana Bayou”, 1909, pastel on paper affixed to board, signed and dated lower left, 8 in. x 11 in., period frame. $1500/2500 356. Achille Peretti (Italian/ New Orleans, 1853-1923), “Study of Two Cows”, oil on canvas, signed upper left, 9 in. x 13 in., framed.

356

W 359. Julia M.

$3000/5000 Provenance: Collection of a New Orleans gentleman.

357

357. Alberta Kinsey (American/New Orleans, 1875-1952), “View of Figures Walking Down Pirate’s Alley, French Quarter, New Orleans”, oil on canvasboard, signed lower left, 16 in. x 10 in., framed. $1200/1800 358. Elmer Joseph Read (American, b. 1862), “Child on Garden Gate Steps, Bahamas”, watercolor on paper, signed lower left, sight 21 1/4 in. x 14 3/4 in., framed. $1000/1500 Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA.

Massie (Mississippi/ New Orleans, 1869-1949), “Back Door, Sophie Newcomb College Greenhouse”, oil on canvas, signed lower right, 21 in. x 16 in., period frame. $500/800 Note: Sophie Newcomb College maintained a working greenhouse on the Washington Avenue campus which was painted by both Ellsworth Woodward 358 and Julia Massie. The Ogden Museum of Southern Art conserves the Julia Massie painting entitled “Newcomb Greenhouse”, 1890, (acc.2003.1.564), an interior view of the building depicted here.

W denotes the lot is illustrated at www.nealauction.com

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W 360. Julia M. Massie (Mississippi/New Orleans, 1869-1949),

“Louisiana Bayou Scene”, oil on canvas, signed lower right, remnant of label en verso, 13 in. x 10 in., original frame. $400/600 361. Ida Rittenberg Kohlmeyer (American/Louisiana, 19121997), “Semiotic Blue”, 1983, oil on canvas, signed and dated lower right, 69 1/2 in. x 69 1/2 in., framed. $25000/35000

364

Provenance: The Imagination Collection, Hotel InterContinental, New Orleans, LA. 362. Ida Rittenberg Kohlmeyer (American/Louisiana, 19121997), “Semiotic Plum”, 1983, oil on canvas, signed and dated lower right, 69 1/2 in. x 69 1/2 in., framed. $25000/35000 Provenance: The Imagination Collection, Hotel InterContinental, New Orleans. 363. Jacqueline Bishop (American/Louisiana b. 1955), “The Case of the Sitting Target”, oil on canvas, 36 in. x 78 in., framed. $2500/3500

364. George Bauer Dunbar (American/New Orleans, b. 1927), “Coin Du Lestin”, mixed media on board, signed lower middle, 41 3/4 in. x 35 3/4 in. $4000/6000

365. Emery Clark (American/ Louisiana, b. 1950), “Night Reflections”, pastel on paper, sight 46 1/4 in. x 69 1/4 in., floatframed. $2000/3000 366. Enrique Alferez (American/New Orleans, 19011999), “Male Torso”, terracotta, unsigned, height 26 in., presented on a contemporary metal stand with a verdigris marble top, height 34 1/2 in., width 22 in., depth 16 in.

365

$5000/8000 Note: Authenticated by the artist’s daughter, Dr. Tlaloc Alferez.

367

366

368 369 367. Henry Schiowitz (American, b. 1955), “The Sun and the Moon”, c. 2005, polished, patinated and silvered bronze, on a black marble base, height 24 1/2 in., width 24 1/2 in., depth 5 1/2 in.

368. John Tarrell Scott (American/New Orleans, 19402007), “Abstract Kinetic Sculpture”, oxidized metal and wire, height 20 in., width 37 in., depth 19 in.

369. Wayne Amedee (American/Louisiana, 20th c.), “Spring #2”, acrylic on canvas, 65 3/4 in. x 82 in., unframed. $1000/1500

$1500/2500

$5000/7000

W denotes the lot is illustrated at www.nealauction.com

371. Clyde Connell (American/Louisiana, 1901-1998), “Abstract Composition”, c. 1963, oil on masonite, signed en verso, 48 in. x 18 in. $800/1200 372. Doyle Gertjejansen (American/New Orleans, b. 1948) “Black Dancing”, 1983, acrylic and charcoal on paper, signed and dated lower right, titled lower left, sheet 37 in. x 47 1/4 in., framed.

370 (1 of 2)

$800/1200 373. George Bauer Dunbar (American/New Orleans, b. 1927), “Hyllus #8”, 2002, mixed media (gold leaf and red clay) on panel, signed lower right, Galerie Simonne Stern, New Orleans label en verso, 23 1/2 in. x 30 1/2 in. $2000/4000

372

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374. George Bauer Dunbar (American/New Orleans, b. 1927), “Abstract Composition”, mixed media on panel, signed lower right, 16 in. x 22 in., framed. $1000/2000

370. Michael Ledet (American/New Orleans, b. 1941), “Double Double Vases, Diptych”, two oils on canvas, each panel 36 in. x 60 in., framed. $800/1200

375. One-of-a-Kind Summit Art Nouveau “Satchmo” Brass Trumpet, 2011, single edition, made by Jason Harrelson, Harrelson Trumpets, MN, B flat, marked Harrelson and Lagniappe, stamped with serial number “08-01-2011” and “LP 4 Bell 7”, leadpipe featuring a fleur-de-lis mouthpiece receiver and engraved “Satchmo” with transcription of Louis Armstrong’s trumpet solo for the song “A Kiss to Build A Dream On”, tuning slide mounted with the iconic New Orleans Water Meter cover, includes fitted trumpet case and wood platform. $5000/8000 Provenance: Donative gift of Jason Harrelson to be sold for the benefit of French Quarter Festivals, Inc. Note: Designed and built by Jason Harrelson of Harrelson Trumpets to commemorate Louis Armstrong and the spirit of New Orleans. This “Satchmo” trumpet exhibits a broad vocal sound reminiscent of Louis Armstrong’s actual voice and will be the only trumpet of its kind to be built. A main focus on the players and what works best for them, Jason Harrelson has gained international acclaim for his high efficiency modern trumpet designs. His handcrafted instruments are played by musicians worldwide such as Jeremy Pelt, Cindy Bradley, Shamarr Allen, and Kermit Ruffins.

W denotes the lot is illustrated at www.nealauction.com

W 379. Enrique Alferez (American/New Orleans, 1901-1999),

“Reclining Nude”, graphite on paper, signed and dedicated lower right, sight 8 1/2 in. x 13 1/4 in., framed. $300/500 380. Robert Gordy (American/Louisiana 1933-1986), “Study for Moroccan Series”, 1983, monotype, pencil-signed and dated lower right, image 23 1/2 x 17 1/2 in., attractively framed. $1800/2500 W 381. Joseph Woodson “Pops” Whitesell (American/New

Orleans, 1876-1958), “Tennessee Williams Reading”, silver gelatin print, Bassetti Gallery New Orleans label en verso, sight 13 in. x 10 in., attractively framed; together with vintage sign for “From the Old French Quarters, Wood ‘Pops’ Whitesell”, Milwaukee Art Institute, 10 1/2 in. x 13 1/2 in., unframed, (2 pcs.) $500/700 376 W 382.

Christopher R. Harris (American, b. 1945), “Tennessee Williams”, 1977, silver gelatin print, Life Magazine stamp with photographer, date and subject en verso, 10 in. x 8 in., unframed; accompanied with handwritten photocopy with provenance. $200/400

377

380

376. George Schmidt (American/New Orleans, b. 1944), “Mother and Son”, watercolor and charcoal with mixed media collage, signed lower right, sight 24 3/4 in. x 29 3/4 in., attractively framed. $1000/1500 377. Nicole Charbonnet (American/ Louisiana, b. 1966), “Climb Ev’ry Mountain”, 2002, mixed media on canvas, unsigned, artist titled and dated on Galerie Simonne Stern, New Orleans label and titled en verso, 60 x 70 in., unframed. $3000/5000 378. Wayne Amedee (American/New Orleans, b. 1946), “Abstract Composition”, 1973, oil on canvas, signed and dated en verso, 24 in. x 72 in., unframed. $1000/1500

378

W 383. Joseph Woodsen “Pops” Whitesell (American/New Orleans, 1876-1958)

“Demonstrating Angle Shot (in Pops Whitesell’s Studio)”, vintage gelatin silver print, unsigned, inscribed en verso, 14 in. x 17 in., unframed. $300/500

W 384. Joseph Woodson “Pops” Whitesell (American/New

Orleans, 1876-1958), “Evening in Old New Orleans”, photogravure, pencil-signed, titled and inscribed “N.O.” on mat board, signed, titled and numerous exhibition and camera club stamps and label en verso, 8 in. x 5 3/4 in; and “Madame John’s Legacy”, photogravure, pencil-signed, titled and inscribed “NO, LSA” on mat board, signed, titled and exhibition stamps and label en verso, 11 3/4 in. x 8 3/4 in., both unframed, (2 pcs.) $500/700 W 385. Joseph Woodson “Pops” Whitesell (American/New

Orleans, 1876-1958), “Demonstration in Angle Shots”, silver gelatin print, pencil-signed, titled and inscribed “N.O” on mat board, Dixie Art Supplies, New Orleans label en verso, sight 15 in. x 17 1/4 in. and “Pops by the Fire”, silver gelatin print, Bassetti, Chartres St, New Orleans label en verso, sight 13 1/4 in. x 16 1/4 in., both framed, (2 pcs.) $600/900

388

Provenance: Estate of photographer C.F. Weber (New Orleans, d. 1971) depicted seated in these images; to Joe Bergeron; purchased by current collector. W 386. John Gruen (American, b. 1926), “Untitled Still Life”,

1980, silver gelatin print, signed and dated lower right, image 15 1/4 in. x 12 in., framed. $500/750 W 387. Linda Broadfoot (American/Florida, born 1955),

“Coocoba Uvifera” and “Miltassia Charles M. Fitch”, two hand manipulated Polaroid’s, both signed, 5 1/2 x 4 1/2 and 13 1/2 x 9 in. respectively, framed. (2 pcs) $300/500 388. Rolland Golden (American/Louisiana, b. 1931), “French Quarter Rooftops”, 1965, watercolor on paper, signed and dated lower right, 21 5/8 in. x 29 3/8 in., framed.

389

$1000/1500 389. Noel Rockmore (American/New Orleans, 1928-1995), “Willie Humphrey No. 1”, 1964, oil on board, signed and dated upper left, Vincent Price Collection label, typewritten note about provenance and an article about Preservation Hall en verso, 11 in. x 16 in., framed. $1200/1800 W 390. Eulalio Garcia Mata (Cuban, 1910-1985), “Floral

Bouquet”, oil on canvas, signed lower left, 20 in. x 16 in., framed. $400/600 391. An American Late Classical Carved Mahogany Sécrétaire à Abattant, mid-19th c., Boston, white marble top, conforming molded frieze, fall front lid with baize writing surface and fitted desk interior, cupboard doors below, shelf interior, plinth base, suppressed ball feet, height 55 in., width 46 1/2 in., depth 19 in. $1500/2500 W 392. An American Federal Carved Mahogany Side Table,

c. 1820, Philadelphia, rectangular top, frieze drawer, turned tapered legs, height 28 1/2 in., width 29 1/2 in., depth 19 in. $400/600 391 W denotes the lot is illustrated at www.nealauction.com

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395. A Pair of American or English Gilt and Patinated Bronze Single Light Argand Lamps, mid-19th c., urn form font atop stem with masques, griffin supports, paw feet, plinth base, cut and etched glass shades, overall height 19 1/8 in.

396

$1200/1800 396. A Pair of American Gilt Bronze TwoLight Wall Sconces, mid-19th c., attributed to H.N. Hooper & Co., Boston, mounted with a grotesque mask, elaborate foliate supports and candlecups, height 9 1/2 in., width 8 in., depth 10 in. $800/1200

395

393. An American Federal Inlaid Mahogany Two Part Dining Table, early 19th c., probably Maryland, each demilune end with drop leaf, square tapered legs, height 29 in., length 82 in., width 46 1/2 in. $2000/3000 394. An American Gilt Lacquered Brass and Bronze Hanging Solar Lamp, mid-19th c., New York or Boston, font on circular bracket with three foliate arms suspended by chains from corona with smoke bell, period chimney and shade, prism hung, overall height 21 3/4 in. $600/900

100

397

397. French School, mid19th c., “Creole Woman with Needlework by a Kitchen Fireplace”, c. 1850, oil on panel, signed indistinctly lower right, remnants of two identical French labels en verso, 11 3/8 in. x 7 1/4 in., giltwood frame. $1000/1500

398

398. Robert Harvey (American, 19th c.), “The Carnaval, Mad de Gra, [sic] New Orleans, U.S.A.”, watercolor on paper, unsigned, pencil-titled, inscribed “No. 3”, and stamped “74C” en verso, titled on mat, 7 in. x 10 in., attractively matted and framed. $1000/1500 399. An Important American Rococo Carved Rosewood Armoire, mid-19th c., New Orleans, foliate crest centered by flower filled urn, lobed finials, arched cornice with beading, paneled doors with ripple molding, fitted interior, plinth drawer, disc feet, casters, height 122 in., width 71 in., depth 26 1/2 in. $10000/15000 Note: This remarkable armoire relates closely to several pieces of the important Mallard suite at Lansdowne in Natchez. The flower filled urn on the crest of this armoire is similar to that on Lansdowne’s half tester bed. The lobed finials, large beaded molding, ovolo corners on the cornice and plinth, scroll carved chamfered stiles, and turned feet are nearly identical to those on the rosewood armoire from the Lansdowne suite.

399

A rosewood armoire with crest, case, doors and stiles very similar to this example was sold in these rooms as lot 892 October 12, 2008. Interestingly, the armoire offered here features an emphasis on ripple molding so typical on American furniture of this period. Reference: Otto. American Furniture of the Nineteenth Century, figs. 289 and 292.

400. An American Federal Cherrywood Chest of Drawers, early 19th c., four graduated drawers, turned legs, height 40 1/2 in., width 45 in., depth 25 in. $2500/3500

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401. An American Gothic Carved Mahogany Sofa, c. 1845, probably Philadelphia, lancet-carved frame, shaped feet, casters, height 41 in., width 85 in., depth 24 in. $3000/5000 Illustrated: Trent and Truax. Vaulting Ambition: Philadelphia Gothic Revival Furniture and Other Decorative Arts. Cover, figs. 23, 23A. Note: The design precedent for sofas of this form was discovered by Stuart Feld in George Smith’s A Collection of Designs for Household Furniture and Interior Decoration in the Most Approved and Elegant Taste (pl. 60). Robert Trent and Harry Mack Truax also note the relationship of this form to examples made in 1837 by Barry and Krickbaum for Andrew Jackson’s home in Nashville, the Hermitage. Reference: Feld. In Pointed Style. fig. 50, pp. 100-101; Trent and Truax. Vaulting Ambition: Philadelphia Gothic Revival Furniture and Other Decorative Arts. p. 107. Lebow, “A Gothic Tale”, House and Garden, (May 1987), p. 193; and Dubrow, American Furniture of the 19th Century, p. 62.

402. An American Classical Carved Mahogany Games Table, c. 1830, attributed to Anthony Quervelle, Philadelphia, foldover top, columnar stem atop pillar, incurvate plinth on acanthine paw feet, casters, height 28 in., width 35 7/8 in., depth 17 5/8 in. $1000/1500

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403. A Pair of American Classical Bronze-Mounted and Gilded Mahogany Pier Tables, early 19th c., New York, each rectangular marble top over figured frieze, marble columnar supports, mirrored back flanked by pilasters, incurvate stretcher shelf, linear stencilling, gilt and verde antico lobed acanthus feet, height 37 7/8 in., width 41 1/8 in., depth 20 in. $10000/15000 Note: The use of white marble for the columns and pilasters, the restrained stencilled line and the distinctive melon and foliate carved feet on this table relate closely to the work of New York firms Holmes and Haines (active 1825-1828) and Deming and Bulkley (active c. 1820-1840). A pier table bearing the H & H label at the Metropolitan Museum of Art is closely related to this pair. A pier table also related to this lot and attributed to Deming and Bulkey is in the collection of Richard Jenrette installed at the Robert William Roper House in Charleston. Two sideboards attributed to Deming and Bulkey, documented by Maurie McInnis and Robert Leath, feature supports, pilasters and feet closely related to that seen here. Reference: Rini. “Edward Holmes and Simeon Haines, Cabinetmakers in New York City,” Magazine Antiques (May, 2005) p. 128, pl. VI.; Moyer. “Finish Conservation on a Deming and Bulkley Circa 1825 New York Classical Pier Table, an Evolution,” Wooden Artifact Group Postprints, (2003) figs. 1-2; Mc Innis and Leath “Beautiful Specimens, Elegant Patterns: New York Furniture for the Charleston Market,” American Furniture, Chipstone Foundation. (1996) figs. 35 and 41.

404. A Regency Gilt Bronze and Cut Crystal Ten-Light Chandelier, c. 1820, attributed to John Blades (English, d. 1829), many of the gilt bronze elements stamped B with a numeral, many of the glass collars etched B, stem with multiple tiers and glass collars, upper circlet issuing five arms with bellflower pendant chains, lower reticulated circlet issuing candle arms, tiered rings below, faceted globular pendant, the whole extensively hung with prisms and crystal swags, height 64 in., diameter 38 in. $25000/35000 Provenance: Purchased by Sir Jamsetjee Jejeebhoy for his residence in Bombay; purchased from his descendants in the 1960s by Albert Nestle, New York; sold to Reading Museum, Reading, PA in 1971; deaccessioned by the museum. Note: John Blades first appears in the 1783 London Guide at 5 Ludgate Hill, where he remains until his death. The firm achieved acclaim abroad and eventually had a branch, Blades and Matthews, in Calcutta. Reference: The English Glass, Chandelier, Martin Mortimer, 2000, pp. 134, 136.

405. A Pair of English Gilt Lacquered Brass and Bronze Two-Light Argand Lamps, c. 1840, Messenger and Sons, London, labeled, elongated urn form font, each feeder arm with scrolled acanthus, tripartite support on incurvate triangular plinth, cut and etched glass shades, chimneys, height 18 3/4 in., width 17 in., depth 8 in. $1500/2500 406. An American Classical Carved and Gilt Pier Mirror, 19th c., probably Baltimore, fluted paneled surround, rosette blocked corners, height 52 5/8 in., width 31 1/2 in. $1200/1800 Provenance: Longwood Plantation, built c. 1785, East Baton Rouge Parish, LA.

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407. William Couper (American/Norfolk, 18531942), “Evangeline”, 1881, marble bust, signed and dated on rear truncation, height 21 1/4 in. $6000/8000 Note: This very important marble bust is more fully inscribed than other versions, having the year and place of its creation discreetly carved on the narrow border of the rear truncation (certain versions carry the title “Evangeline” as well as the sculptor’s name). In 1848 the artist’s father founded the Couper Marble Works, a stone importing business in Norfolk, where young William received his first training from immigrant Italian workmen. From 1872 to 1874—that is from the ages of nineteen to twentyone—he studied at the precursor of the Cooper Union in New York, then in 1874 traveled to Munich (to attend the Academy of Fine Arts) and in 1875 to Florence, where he was accepted into the circle of the famous American expatriate sculptor Thomas Ball (18191911), whose daughter Eliza he shortly married (as had been ruefully predicted by his rival, Daniel Chester French, in 1876). The “Evangeline” is a deservedly 408 celebrated masterpiece, carved when he was only twenty-eight (he took it for exhibition in Paris and London in 1885, and the model was sold from Tiffany & Co. in New York from that date). It is of course based on the long poem in archaic meter (1847) by Henry Wadsworth Longfellow (1807-1882), about the forced separation on the eve of their wedding of Evangeline Bellefontaine and Gabriel Lajeunesse, and the lifelong travels of the heroine in search of her lover, whom she locates only to have him die in her arms. It is often considered the greatest of all Longfellow’s works, and “one of the most affecting poems in the language;” Couper’s inspired rendition of its protagonist justly achieves an image of that “affection that hopes and endures and is patient.”

407

Fair was she to behold, that maiden of seventeen summers. Black were her eyes as the berry that grows on the thorn by the wayside, Black, yet how softly they gleamed beneath the brown shade of her tresses! References: Thomas Davidson, “Longfellow”, Encyclopedia Britannica, 11th ed., 29 vols., Cambridge, 1911, vol. 16, pp. 977-980; G. E. Couper, An American Sculptor on the Grand Tour: the Life and Works of William Couper, Los Angeles, 1988, pp. 34, 40, 76, 83, and fig. 49; excerpt from “Evangeline” by Henry Wadsworth Longfellow.

408. A Louis XV-Style Ebonized and Gilt BronzeMounted Bracket Clock, 19th c., movement marked “Japy Freres”, surmounted by a figure of Athena, flame finials, the dial with porcelain number cartouches, flanked by female terms, height 40 in., width 17 1/4 in., depth 7 in. $6000/8000

409

409. A Fine Neoclassical-Style Gilt and Patinated Bronze Guéridon, intricately inlaid micro-mosaic top centered by a roundel of the Colosseum, geometric surround and reserve band of pheasants and butterflies amid lapis lazuli and malachite flowers, tripod caryatid base, hairy paw feet, height 32 in., width 29 in., depth 29 in. $10000/15000

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410. A Pair of Italian Carved Giltwood Trophies, 19th c., in the manner of Thomas Hope, one with drum and flags; the other with helmet, horn and spears, height 32 in., width 27 in., depth 2 in. $1000/1500 411. A George III Mahogany Sideboard, central drawer with arched brackets below, flanked by drawers, square tapered cuffed legs, height 36 in., width 72 in., depth 27 1/2 in.

412

$2000/3000 412. An Edwardian Gilt Bronze and Brass Three-Light Gasolier, fluted standard with foliate collars, mounted with winged goat masks, scrolled and foliate supports, cut and etched glass shades, height 36 in., diameter 24 in.

414

$1500/2500 413. An American Late Classical Carved Mahogany Dressing Table, c. 1830, ovoid mirror with swan neck supports, marble top, fitted drawer, scroll legs joined by turned stretcher, height 54 7/8 in., width 32 in., depth 16 7/8 in.

414. A Continental Marquetry Inlaid Vitrine, 19th c., probably Dutch, upper case with arched cornice over glazed door and side panels, shelf interior; lower case with four graduated drawers flanked by doors, ball feet, height 87 in., width 52 3/4 in., depth 14 in. $2500/3500

$1200/1800

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417. A Pair of Antique George III-Style Polychrome Painted Mahogany Cutlery Urns, probably Edwardian, each with well-fitted interior, the telescoping domical top in working order, height 25 1/2 in., diameter 10 1/2 in. $3000/5000 418. A Fine Paris Porcelain Cathedral Form Mantel Clock, c. 1835, with ironred stenciled mark for “Ancienne Maison Dagoty/Ed. Honoré, 4 Boulevard Poissoniere a Paris”, silk thread movement by Raingo Freres, height 24 in.

416

415. A Set of Ten Regency-Style Carved Mahogany Dining Chairs, 19th c., comprised of two arm and eight side chairs, each with incurvate reeded tablet crest, molded stiles and seat rail, turned tapered legs.

$8000/12000

$2000/3000 416. A Pair of Napoleon III Gilt Bronze and Marble Four-Light Figural Candelabra, 19th c., Cupid standards supporting foliate candlearms, on tall sienna marble columnar bases, height 31 in., width 8 in., depth 8 1/2 in. $2500/4000

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419. A Very Rare Pair of American Classical Carved and Gilded Rosewood Recamiers, early 19th c., the opposed pair with swan appliqués, lotus blossom feet, height 33 1/2 in., length 78 in., depth 23 in. $15000/25000 Note: This exuberant pair of American recamiers is likely inspired by the well-known bed designed by Jacob-Desmalter for the bedroom of Empress Josephine at Malmaison. In the United States a sofa made by John Finlay (Baltimore), c. 1832, for John and Eliza Ridgely of “Hampton” was specifically listed in the invoice as “sofa with gilt swans”. A New York pier table with opposing swan supports is conserved by the Kaufman Americana Foundation, Norfolk, Va. The pair offered here features opposed carved and gilded swans with breast and head at one end and a wing terminating the rail. The maker of this pair of recamiers was familiar with Empire precedents for the swan motif, but also knowledgeable of the “Grecian” style of John Hall and perhaps Biedermeier influence, with a restraint of excess ornament and stylized bas relief execution of the figures. Reference: Cooper, Wendy A., Classical Taste in America: 1800-1840, 1993, pp.142-145.

420. A Fine American Federal Figured Mahogany Work Table, c. 18001825, possibly Salem, MA or Northshore, MA, cross-banded top with outset corners, fitted drawer above another drawer, reeded and ring-turned tapered legs ending in brass ferrules, casters. $4000/6000 Provenance: F.J. Carey III, Ambler, PA.

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422. A Good Pair of Restauration Mahogany and Gilt Bronze Adjustable Guéridons, early 19th c., possibly by Jacob, each circular galleried top with snuffer stand below, paneled hexagonal stem on three conforming outswept legs; together with a pair of antique French brass candlesticks and snuffers. 421

$1500/2500 423. A Pair of American Classical Carved Mahogany Side Chairs, early 19th c., New York, tablet crest rail, scrolled acanthus medial rail, saber legs. $700/900

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421. An Important Gorham Coin Silver Tea Service, ret. James E. Spear, Charleston, South Carolina, c. 1859, wc. 1846-71, maker’s mark erased, “JAMES E. SPEAR”, “COIN”, and “30” on the bottom of each piece, consisting of teapot, creamer, covered sugar, and waste bowl, early Renaissance Revival with elements of Greek design in the ovoid shaped bodies on circular feet, engine-turned and chased surface decoration, beaded borders, inscribed “To S.Y. Tupper Esq. / From the / Officers & Members / of the / Vigilant Fire Engine / Company / Feby 1st 1859”, teapot height 9 3/4 in., combined weight 74.70 troy ozs. $5000/7500 Reference: See South Carolina Silversmiths, E. Milby Burton, pp. 175-177; illustrated Palmetto Silver, McKissick Museum, p. 5.

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424. A Rare American Federal Carved and Figured Mahogany Dry Sink, c. 1820, attributed to Thomas Seymour, Boston, hinged top opening to void interior with deep central well, case fitted with two drawers, lion’s masque ring pulls, turned legs, stretcher shelf, ball feet, height 33 in., width 37 1/8 in., depth 20 in. Note: Interior retains traces of distinctive “Seymour” light blue paint. $1500/2500

424

425. A Very Fine American Federal Carved Mahogany Sideboard, c. 1812-1817, attributed to Thomas Seymour, Boston, shaped top with distinctively molded edge, conforming case with central drawer over two bottle drawers and cupboard, flanked by drawers over cupboard doors, lion’s masque ring pulls, reeded pilasters, turned and tapered reeded legs, height 41 1/4 in., width 59 in., depth 24 1/2 in. Accompanied by a letter of authentication from Robert Mussey. $15000/25000 Note: Scholar Robert Mussey lists many stylistic elements that support an attribution to Thomas Seymour including the rare orientation of the grain of the veneered top in relation to the pine and mahogany secondary lamination beneath; the distinctive beading of the top and bottom edge; the beautifully turned and reeded legs with small compressed ball feet; the superior and well-matched veneers; and the “workmanship throughout, including all secondary surfaces.”

425

426. An American Cherrywood Captain’s Desk on Stand, 19th c., hinged lid opening to baize writing surface and fitted interior, brass carrying handles; stand fitted with a drawer, reeded legs, height 36 3/4 in., width 23 1/8 in., depth 16 1/4 in. $1800/2500 427. An American Federal Carved Mahogany Bowfront Chest of Drawers, early 19th c., New England, top with turreted corners, four graduated drawers flanked by reeded columns, ring-turned legs, height 41 1/2 in., width 42 3/4 in., depth 21 3/8 in.

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428. An Irish Regency-Style Giltwood Console Table, 19th c., white marble top on molded frieze, scroll supports, paw feet, plinth base, height 34 1/4 in., width 36 3/4 in., depth 18 3/4 in. $800/1200

$1200/1800

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429. A Regency Mahogany Chiffonier, c. 1815, superstructure with reticulated brass gallery and shelves between scrolled brass supports; case with a single drawer over a pair of doors, tapered and reeded legs, height 49 1/4 in., width 34 5/8 in., depth 19 3/8 in. $1200/1800 430. An Edwardian PaintDecorated Satinwood Secretaire in the Adam Taste, late 19th/ early 20th c., the vitrine with molded cornice, elliptical glazed doors, shelf interior; the stand with escritoire drawer with fitted interior and baize writing surface, square tapered legs, incurvate stretcher shelf, height 84 7/8 in., width 36 1/8 in., depth 16 in.

429

432. An English Carved Mahogany Three Tier Trolley, 19th c., molded shelves with backsplash, turned uprights, tapered legs, casters, height 42 1/8 in., width 48 in., depth 17 1/2 in. $800/1200

$3000/5000 430

431

431. A Pair of Georgian Carved Mahogany Side Chairs, early 19th c., in the Hepplewhite taste, each with molded back, tapered splats, square tapered legs joined by stretchers. $500/750

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433. An Extensive English Ironstone Presentation Dinner Service, c. 1853, “F.M. & Co.”, marked “Presented to Ira Gould Esquire Flour Manufacturer”, with transfer, polychrome and gilt chinoiserie decoration, comprising 18 dinner plates, 12 soup plates, 16 luncheon plates, 14 dessert plates, 4 large platters, 2 open vegetable dishes, a pair of lidded vegetable dishes, a lidded soup tureen and undertray, an open tureen, a pair of sauce tureens with undertrays, a large ladle, a pair of sauce ladles, a pair of sauce pitchers, and a bonbon dish.

433

$1500/2500 434. An American Carved and Burl Walnut Library Table, c. 1873, attributed to Pottier and Stymus, New York, pencil inscription “36116 Dinsmore”; inset tooled leather top, each end with recessed writing slide, frieze fitted with a deep drawer and pairs of opposed drawers, G. Bayer Philadelphia locks, trestle ends with urns and central panel with lion’s masque, elaborate stretcher, paw feet, height 30 in., width 61 in., depth 36 1/2 in.

434

$8000/12000 Provenance: The penciled notation on this table indicates it was part of the original furnishings for The Locusts, William Dinsmore’s Staatsburg, New York estate, 1873. Note: The use of a four and five-digit numbering system by Pottier and Stymus before 1888 is well-known and documented in Kristin Herrons’ article on Glenmont, the Thomas Edison Residence in West Orange, New Jersey. The digits on a Pottier and Stymus example could be impressed, stenciled, or inscribed, as seen here.

Herron notes that the numbers were probably assigned chronologically, low digits, such as “Ingersoll 3924” on an Egyptian Revival chair at the Metropolitan Museum of Art dates from c. 1870, while a c. 1882 wardrobe at Glenmont is marked with a higher number “Pedder 66595”. The inscribed number in ink on this table, “36116”, indicates manufacture between 1873 and 1880. An 1888 fire in the manufactory destroyed the firm’s records, and probably terminated use of the numbering system in subsequent work from Pottier and Stymus. Also indicative of the Pottier and Stymus notation, the client’s name, “Dinsmore” is inscribed on the table seen here along with the number. Railroad magnate William B. Dinsmore built an Italianate mansion on a bluff overlooking the Hudson River on his estate, The Locusts, in 1873. A devoted horticulturist and

gentleman farmer, Dinsmore filled the grounds with massive greenhouses and gardens, cultivating rare orchids and raising prize-winning dairy cows. Visitors to The Locusts included Presidents Ulysses S. Grant and Chester Arthur. In 1941 the Italianate structure was replaced with a new house by Dinsmore’s granddaughter, Helen Huntington Hull. The distinctive stretcher with an acroteria on this table is very similar to that on a library table made by Pottier and Stymus c. 1875 for the family drawing room in the Leland Stanford Mansion, San Francisco, a project contemporary to The Locusts. Reference: Herron. “The Modern Gothic Furniture of Pottier and Stymus.” Magazine Antiques. (May 1999) p. 765, 768, pl. XIII-XIV, note 15, and p. 769 note 17; Meserve. “Dinsmore Estate in Staatsburg: The Locusts was Magnificent,” The Hyde Park Townsman. (March 9-10, 1983); http:// locustsonhudson.com; Strazdes. “The Millionaire’s Palace, Leland Stanford’s Commission for Pottier and Stymus in San Francisco,” Winterthur Portfolio 36:4, p. 232, fig. 18.

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435. A Pair of American Modern Gothic Carved, Ebonized and Gilt-Incised Pedestals, late 19th c., New York, each with rectangular top, turned stem with bracketed supports, four arched legs, height 36 in., width 17 3/4 in., depth 14 in. $800/1200

435

436

436. An American Aesthetic Maple Faux Bamboo Sunderland Table, c. 1870, attributed to R.J. Horner & Co., New York, drop leaf top, trestle supports joined by a stretcher, gate legs, height 27 1/2 in., width 29 in., depth 31 1/2 in. $600/900 437. A Rare American Carved Mahogany “Morris” Chair, late 19th c., probably Allen & Bro., Philadelphia, adjustable back, padded arms, square legs, casters. $500/750

437

439

W 438. An American

Aesthetic Ebonized, Gilt Bronze and Brass Pedestal, late 19th c., New York, white marble top, pierced overlay frieze, turned stem, zoomorphic tripodal supports, hoof feet, height 33 1/2 in., diameter 15 1/2 in. $600/900 439. An American Carved Rosewood Center Table, 19th c., oval tilt top, ring and baluster-turned uprights, X-stretcher with urn finial, chamfered legs, height 29 1/2 in., width 34 3/4 in., depth 29 1/4 in. $600/900 440. A Fine Baltic Neoclassical Gilt Bronze and Cut Crystal Eight-Light Chandelier, c. 1800, bowknot corona, star-form gallery supporting candle arms ending in warrior masques, now electrified, height 36 in., diameter 40 in. $6000/8000 Provenance: Property of an Alabama Collector; Christie’s, Nov. 28, 2008, lot 137.

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441. Affortunato Gory (Gori) (Italian/ French, known active 1895-1925), “Danseuse Arabe”, gilt bronze and alabaster figure of a female dancer, signed on upper surface of base, height 35 1/2 in., width 14 1/2 in., depth 14 in.

442. A Large Italian BaroqueStyle Carved Mirror, molded blocked surround with cherub masques, rope moldings, and foliate cartouches, height 64 1/2 in., width 54 1/4 in. Note: Faded gilt surface.

$6000/9000

$2000/3000

Provenance: Estate of Judith Gic Shelton (1947-2011), New Orleans, LA.

441

444

443. A Louis XV-Style Gilt Bronze and Chinese Famille Rose Mounted Three-Piece Clock Garniture, porcelain dial with floral swags, the scholar figure enclosed by elaborately modeled grape arbor, mounted with painted porcelain flowers, on scrolled base, flanked by conforming twolight candelabra, height of clock 37 1/2 in., width 18 in., depth 11 1/2 in. $10000/15000

442

444. A Pair of French Empire Gilt Bronze Three-Light Wall Sconces, 19th c., backplate cast with shell, wings and acanthus, issuing swan-form supports, height 15 in., width 11 in., depth 6 in. $800/1200 W denotes the lot is illustrated at www.nealauction.com

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445. A Tôle Peinte Verriére, c. 1820, of typical form, vermilion ground with gilt decoration, height 4 3/8 in., width 12 in., depth 7 7/8 in. Note: Original surface.

448. An American Aesthetic Mahogany and Brass Inlaid Center Table, late 19th c., attributed to A. and H. Lejambre, Philadelphia, molded top, paneled frieze fitted with two opposed drawers, reticulated trestle support joined by a stretcher shelf, paw feet, height 30 in., width 37 1/2 in., depth 29 1/8 in. $800/1200 Note: The Lejambre firm was founded by French immigrant John Peter Alphonse Lejambre in the early 19th century and continued under various family members and partnerships until 1907.

$500/750 446. An Antique English Tôle Peinte Tray, mid-19th c., pierced handles, vermilion ground with foliate decoration, reserved with a Classical scene, on a later X-form stand, height 20 in., width 27 in., depth 20 7/8 in. $600/800

Reference: Strickland, Peter L. L., “Furniture by the Lejambre family of Philadelphia”, The Magazine Antiques, March, 1978, pp.600613

448

447. A Pair of American Mahogany State Senate Chamber Chairs, early 20th c., labeled “Irving & Casson Boston - A.H. Davenport NY”, each crest rail with central eagle panel, arms on vasiform uprights, swivel base, casters. $1000/1500 Note: The A.J. Davenport Company was commissioned to provide furnishings for the Massachusetts legislative building, c. 1898. The company merged with Irving & Casson, Boston, in 1916 and received government commissions for other State chambers, including Washington State, c. 1928. Reference: www.malegislature.gov; www.leg.wa.gov

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449. A Pair of American Aesthetic Carved Mahogany and Brass Inlaid Low Tables in the Moorish Taste, late 19th c., attributed to Associated Artists, New York, each with paneled square top, arched inlaid bracketed skirt, blocked, turned legs, height 13 3/4 in., width 18 1/2 in., depth 18 1/2 in. $800/1200 Note: The architectural nature of these stools, specifically the Moorish arched frieze relates to ‘The Moorish Smoking Room’ of the Henry G. Marquand Residence, New York.

450. An Aesthetic Carved and Ebonized Pedestal, late 19th c., square top on ring turned and incised uprights, medial shelf, spindled gallery on plinth base, bracket feet, height 34 1/2 in., width 14 in., depth 13 7/8 in. $400/600 451. An American Carved Walnut Armchair, mid-19th c., probably Baltimore, spool turned uprights with conforming padded arms, ball terminals, spool turned legs, casters, original finish. $500/750 452. An Antique English Carved Mahogany Writing Desk, in the Chippendale style, shaped gallery, kneehole configuration of drawers, square legs ending in block feet, height 33 1/4 in., width 54 in., depth 29 7/8 in.

450

451

$500/750 453. A Pair of Edwardian Satinwood Side Chairs, in the Adam taste, each pierced shield back with floral bouquet, shaped seat rail, square tapered legs, blocked at the base. $500/750

452

455

455. An Edwardian Mahogany and Marquetry Cabinet, late 19th/early 20th c., the upper case with arched cornice, astragal glazed doors, shelf interior; the base with two drawers, on square tapered legs, height 70 in., width 28 1/2 in., depth 21 in.

453

454. An Antique English Carved Mahogany Étagère, mid-19th c., four galleried tiers, spire finials and barley-twist supports, fitted with one drawer, turned legs, brass cup casters, height 59 in., width 21 1/2 in., depth 15 1/2 in.

454

$500/750

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458. A Louis XVI-Style Inlaid Kingwood Commode, early 19th c., shaped marble top above two drawers, molded stiles, fluted tapered legs, height 33 in., width 36 in., depth 22 1/8 in. $1500/2500 459. A Pair of NeoclassicalStyle Doré Bronze Guéridons, each having a variegated rouge royale marble top inset within a foliate molding, paired segmented uprights, incurvate plinth with a raised marble tazza, bun feet, height 27 1/2 in., width 20 1/2 in., depth 20 1/2 in.

456

$3000/5000 457

458

457. A Napoleon III Brass Inlaid, Gilt Bronze-Mounted and Ebonized Vitrine Cabinet, 19th c., upper case with shaped cornice, glazed door and side panels, mirror back; lower case with paneled frieze over a door, plinth base, the whole mounted with Sevres medallions, height 72 1/2 in., width 28 1/2 in., depth 15 3/8 in.

460. A Pair of Dutch Inlaid Walnut Hall Chairs, 19th c., shaped crests, vasiform splats, shaped stiles, scalloped seat rails, cabriole legs, pad feet.

$4000/6000

$700/1000

460

456. A Pair of Charles X Carved Mahogany Fauteuils, 19th c, each with square padded back, urn-carved arms, bowed seat rail, saber legs. $600/900

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462. An Antique Indo-African Brass-Mounted Hardwood “Treasure” Chest, Zanzibar, rectangular trunk over three frieze drawers, hinged lid opening to fitted interior, exterior embellished with pierced brass panels and brass studs, height 21 3/4 in., width 50 3/4 in., depth 24 1/4 in., later wood stand, overall height 33 1/4 in. $1500/2500 Provenance: With Commander David Enderby Blunt, explorer, author, and elephant control officer in Tanganyika; to Russell B. Aitken (1910-2002); to Christie’s, New York, The Russell B. Aitken Collection of African and Oceanic Art, April, 2003, lot 128; to current owner. Note: In “Zanzibar - Island Jewel”, an article written by Russell Barnett Aitken for Natural History Magazine in March 1951, p. 120, Aitken writes: “These chests were made in Surat, India. Ancient Arabs, distrusting banks, used them for protecting money and jewels”.

462

463. English or Continental School, early 19th c., a fine pair of Colifichets, double-sided embroideries of devotional images on paper representing the Two Saint Johns: the Baptist shown as a child, with his emblematic lamb and reeded cross with the banner “...agnus dei”; and the Evangelist with his chalice, framed, overall sizes 11 1/8 in. x 9 3/8 in. and 10 5/8 in. x 8 1/2 in., respectively.

461. An AngloIndian Carved Hardwood Center Table, 19th c., segmented oval top, acanthine column on scrolled legs, casters, height 28 in., width 51 1/2 in., depth 39 in.

$800/1200 Reference: Swain, Margaret. “Colifichets, double-face embroideries on paper”, The Magazine Antiques Vol. CIV, No.3, (Sept 1973) pp. 440-444.

W 464. A Pair of French Gilt Metal Bouillotte Lamps,

20th c., with adjustable tôle shades and candle supports, not electrified, height 26 in., diameter 17 in.

$1500/2500

$600/800 465. An American Classical Carved Giltwood Overmantel Mirror, 19th c., molded surround, height 47 1/4 in., width 63 in. $1000/1500 463 (1 of 2)

Provenance: Longwood Plantation, built c. 1785, East Baton Rouge Parish, LA.

W denotes the lot is illustrated at www.nealauction.com

117

467. An American Federal Carved Mahogany Candlestand, early 19th c., shaped tilt top on birdcage, turned vasiform support, arched legs, height 28 in., width 24 in., depth 20 in. $500/750 468. A Charles X Mahogany and Bronze-Mounted Commode, early 19th c., marble top above four drawers, molded blocked base, height 34 1/2 in., width 44 7/8 in., depth 20 1/2 in.

466

$1200/1800 466. An American Federal Carved Mahogany Games Table, c. 1820, Philadelphia, shaped foldover top, conforming frieze, ring-turned and reeded tapering legs, ball feet, height 29 3/4 in., width 35 3/4 in., depth 18 1/2 in.

469

$800/1200

469. A Restauration Carved Mahogany Dressing Table, early 19th c., the ovoid mirror on swan’s neck yoke, marble top, long drawer, lyre supports connected by a turned stretcher, scroll feet, height 30 1/8 in., width 31 7/8 in., depth 16 1/8 in. $1200/1800 470. John Scott, R.I., R.B.A. (British, 18501919), “Working the Banner”, 1879, oil on canvas, signed “J. Scott, RA” and dated lower right, titled and numbered “3”, with artist’s Haverstockhill London address, pencil inscription on stretcher, 34 in. x 18 in., in an original giltwood frame.

467

$2000/3000

470

468

118

471. [Crystal Palace], “Interior of the Crystal Palace, Hyde Park, 1851”, colored woodblock print, from The Illustrated London News, sheet 30 in. x 42 1/2 in., float matted and framed 38 1/2 in. x 51 1/4 in. $600/900 471

472

472. A Large American Ship Diorama, late 19th/ early 20th c., featuring a three-dimensional ship against a painted background, height 34 1/2 in., width 45 1/4 in., in a period shadowbox frame. $1000/1500

474

475

475. An Antique Grand Tour Pottery Bust of a Greek Soldier, the plinth with laurel wreath, black glaze overall, height 12 1/4 in., width 4 1/2 in., depth 3 3/8 in. $500/750

473

476. A Patinated Bronze Figure of a Satyr, unsigned, presented holding a rustic bagpipe (lacking reeds), stone base, height 22 3/4 in., width 10 in., depth 18 1/4 in.

476

473. An English Majolica Blackamoor, featuring a woman presenting a basket, marked on base, height 20 in.

474. A Baccarat Cut Crystal and Gilt Bronze Centerpiece, 19th c., stand marked Baccarat, lobed oval bowl fitted in foliate support with handles, scrolled feet, height 8 3/4 in., width 20 1/2 in., depth 10 3/4 in.

$800/1200

$600/900

$1500/2500

W denotes the lot is illustrated at www.nealauction.com

119

479

477

477. A George III-Style Carved and Inlaid Satinwood Breakfront Vitrine Cabinet, 19th c., lancet cornice over a pair of glazed doors flanked by conforming doors, shelves within; base with banks of drawers interspersed with shell inlay, square tapered legs, blocked feet, height 79 1/2 in., width 60 in., depth 21 in. $2000/3000 Provenance: With label noting “Antique from the Frank Partridge Collection, Hemenway’s, New Orleans”. 478. An Empire Bronze-Mounted Mahogany Pedestal, 19th c., square scrolled capital, tapered body with applied beribboned wreath centered by a lyre, plinth base, height 47 in., width 11 1/2 in., depth 11 1/2 in. $500/750

120

480

478

479. An Empire-Style Carved, Gilded and Inlaid Mahogany Pier Table, 19th c., probably Baltic or Russian, molded top, recessed frieze drawer, two griffin uprights ending in paw feet, panel back flanked by pilasters, incurvate plinth base, half sphere feet, height 35 1/2 in., width 43 1/2 in., depth 20 in. $3000/5000

481

480. A Pair of Neoclassical-Style Rock Crystal and Argenté Candlesticks, circular base, spherule feet, height 10 1/2 in., diameter 4 1/2 in. $1000/1500 481. A Napoleon III Gilt Bronze Six-Light Candelabrum in the Empire Style, 19th c., now converted to a lamp, on ebonized wood base, height 38 in., diameter 12 in. $600/900

482. A Pair of Antique Pâtesur-Pâte Table Lamps, c. 1900, celadon ground, white glaze musical instruments centered amongst flowers, bronzemounted base, height 29 in., diameter 5 1/2 in.

483

$700/1000 483. A Good Pair of French Cobalt Glass Compotes, c. 1830, rolled edge, panel cut, height 6 1/4 in., diameter 9 1/2 in.

482

$800/1200 487 W 484. An

American Art Nouveau Silver Overlay Glass Coupe, c. 1900, Alvin Mfg., height 10 1/2 in.

W 485. A Collection

of Engraved Glass Stemware, various cordial sizes and forms, tallest height 5 1/2 in., (50 pcs.)

486

$600/900

$500/700 486. A Pair of Italian 18 kt. White Gold, Sapphire and Diamond Earrings, set with 18 oval and 2 pear-shaped sapphires, totaling approx. 8 cts.; and 20 brilliant cut diamonds, clarity VS, color GH, totaling approx. .6 ct. $5000/7500 488 487. An 18 kt. White Gold and Diamond Bracelet, set with approx. 108 baguette cut and 126 round brilliant cut diamonds, clarity VS-2, color GH, totaling approx. 4 cts. $5000/7500 488. A Patek Philippe 18 kt. Yellow Gold Man’s Nautilus Wristwatch, bracelet marked “Nautilus/18 kt/Patek Philippe”. $14000/18000

489

489. A Black Tahitian Pearl Necklace, containing 35 pearls graduated from 11.0 mm. to 15.0 mm., with 14 kt. white gold ball clasp with band of single cut diamonds. $7000/10000 W denotes the lot is illustrated at www.nealauction.com

121

490. An 18 kt. Yellow Gold and Pavé Diamond DomeShape Band Ring, containing 39 brilliant cut diamonds totaling approx. 6 cts., color approx. H-I, clarity approx. VS1-VS2. $6000/8000 490

491

494

492. A 14 kt. Yellow Gold and Diamond Solitaire Ring, set with a fine 1.56 ct. brilliant cut diamond, color E, VS1 clarity, accompanied by G.I.A. Certificate #NY2060334. $15000/20000 493

493. An 18 Kt. Yellow Gold, Sapphire and Diamond Stud and Cufflink Set, cufflinks signed “W” and serial number 10032; set with 23 fine full cut diamonds totaling 1.20 ct. and 16 trapezoidal baguette natural blue sapphires, 2 cabochon sapphire; studs signed “W”.

491. A Platinum, Diamond and Sapphire Ring, set with a 4.60 ct. brilliant cut diamond, color L, clarity VS1, and 2 sapphire baguettes; accompanied by GIA Certificate #5151052455. $80000/100000

122

$8000/10000 494. An Impressive. Cultured Pearl Rope Necklace, set with 170 10 mm. pearls, length 76 in. $12000/18000 Provenance: Estate of a New Orleans lady.

492

499

W 497. A Single

495

Strand Cultured Pearl Necklace, containing 36 freshwater cultured pearls graduated from 10.5 mm. to 12 mm., with brown diamond pavé clasp. $2000/3000 W 498. A Triple

500

Strand Japanese Cultured Pearl Necklace with 18 kt. White Gold and Diamond Clasp and Dividers, the pearl approx. 6-6.5 mm.; the clasp and dividers set with approx. 50 round brilliant diamonds totaling approx. 1 ct., color approx. G-H, clarity approx. SI1. $2000/3000

496

495. A Polynesian Golden South Sea Pearl Necklace, pearls graduated from 10 mm. to 14 mm., with 18 kt. yellow gold clasp. $6000/8000 496. A Triple Strand Cultured Pearl Necklace, containing cultured pearls measuring 7 to 7.5 mm., with 14 kt. yellow gold clasp set with 7 brilliant cut diamonds totalling approx. 1.50 cts., color I, clarity VS2. $3000/4000

499. A Pair of Carrara Marble Figures of Youthful Angels, 19th c., each delicately modeled figure clasping a bouquet to his chest, height 30 1/4 in. $5000/7500 500. Antonio Grediaga Kieff (Spanish/Canadian, b. 1936), “La Dame aux Deux Visages”, abstract bronze sculpture, signed “Kieff”, edition numbered “3/9”, on a contemporaneous black marble base, overall height 22 1/2 in., width 10 in., depth 8 in., presented on plexiglass pedestal. $700/1000 Provenance: Estate of Judith Gic Shelton (1947-2011), New Orleans, LA. W denotes the lot is illustrated at www.nealauction.com

123

503

503. A French Gilt Bronze Cartel Clock, 19th c., signed Maison Languereau, Paris, white enamel dial surmounted by an urn and garlands, flanked by female terms, length 26 in., width 13 1/2 in.

504

$1200/1800

502

W 501. An Art Deco Bronze

of a Dancing Woman, after Demetrius H. Chiparus (Romanian, 1888-1950), in period costume, on rectangular base mounted on marble plinth, signed on right rear of base, height 12 in., length 14 5/8 in., depth 5 1/2 in. $500/800 502. Peter Breuer (German, 1856-1930), “Allegorical Figure of Industry”, patinated bronze, c. 1900, signed on base, with Gladenback & Sohn foundry mark, stamped “C.H. 18793.11.-1904” on recto of base, height 28 1/2 in., and a sandstone plinth base, presented on a Neoclassicalstyle brass-mounted carved and ebonized fluted wood pedestal, height 41 1/4 in. $1200/1800

124

504. An Antique Persian Serapi Carpet, ochre ground, central medallion and spandrels in dark blue and cream, stylized floral motifs, 9 ft. 10 in. x 13 ft. 8 in. $3000/5000 Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA. 505. An Antique Persian Heriz Carpet, ochre and blue ground, central stylized medallions, repeating gul border. Note: Condition. $2000/3000 Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA. W 506. A Persian Tabriz Carpet,

crimson ground with cream central medallion, dark spandrels, 6 ft. 7 in. x 9 ft. 8 in. $1800/2500 W 507. A Persian Sultanabad

Carpet, dark ground with rust, cream and robin’s egg blue repeating floral motifs, 11 ft. 4 in. x 19 ft. 10 in. $7500/8500

505

508. A Persian Serapi Carpet, navy ground with a sky blue, cream, and salmon abstract overall floral design, salmon and cream border, 13 ft. x 16 ft. 2 in. $7000/9000 W 509. A Good

Persian Runner, dark blue ground, repeating central medallions, with overall geometric motifs, 4 ft. 3 in. x 9 ft. 3 in. $1500/2500 Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA.

508 511

510. A Persian Mahal Carpet, red ground with an overall floral and vine motif, central medallion and border grounded in cream, 10 ft. 3 in. x 13 ft. 10 in. $4000/6000 511. A Persian Heriz Carpet, russet ground with cream and dark accents, central medallion in a geometric form, stylized border, 10 ft. 8 in. x 13 ft. 2 in. $4000/6000 W 512. A Fine Persian

Kerman Carpet, crimson ground with floral spandrels, border, and central medallion, accented in cream, navy, and sky blue, 9 ft. 10 in. x 13 ft. 6 in. $4000/6000 513. A Chinese Silk “Tree of Life” Carpet, with highly detailed avian and floral motifs, 5 ft. x 3 ft. $1000/1500 Provenance: Estate of James P. Raymond (19312011), New Orleans, LA.

510

W 514. An Antique Sarouk

Carpet, indigo and red ground, central medallion, with stylized floral motifs, 8 ft. 8 in. x 14 ft. 6 in. $1200/1800

513

W denotes the lot is illustrated at www.nealauction.com

125

W 518. A Monumental Japanese

Satsuma Style Earthenware Jar and Cover, ovoid body with applied tassel-hung chrysanthemum-ring handles at the shoulder, tall neck and domed cover with a shishi lion finial, decorated with shaped panels enclosing figures and Arhats on a flower strewn brocade ground, height 42 in.; presented on an ebonized carved wood table stand, overall height 62 3/4 in. $2500/3500 W 519. Koitsu Tsuchiya

(Japanese, 1870-1949), “Snow at Miyajima”, 1937, woodblock print, signed and sealed lower left, image 9 1/2 in. x 14 1/4 in., sight 10 1/8 in. x 15 1/8 in., framed. $300/500 517

515

515. An Aubusson Carpet, black ground with cream and ochre central medallion and border, overall creeping vines, rust accents, 10 ft. x 14 ft. $4000/6000 W 516. Utagawa Kunisada

520 (1 of 3)

((Toyokuni III) Japanese, 17861865), “The Tale of Genji”, two woodblock prints from the series Murasaki Shikibu Genji Monogatari, each depicting a chapter from the famous novel, the chapter number inscribed in the cartouche above, publisher’s mark of Tsutaya, signed Kunisada ga, each image 13 in. x 9 in., sheet 14 3/4 in. x 10 in. (2 pcs.) $400/600 517. A Monumental Japanese Zoshuntei Sampo Arita Porcelain Covered Jar, Meiji Period (1868-1912), ovoid body with domed cover and chrysanthemum head final, decorated overall in the Imari style with figural, landscape and bird-and-flower panels on an iron red ground strewn with flower heads, base with Zoshuntei Sampo Zu mark, painted collection numbers and a Feudalmuseum Schloss Wernigerode Staatliches Museum label, height 32 in., wood stand, overall height 42 in.

522

126

$2000/3000

520. Hiroshi Yoshida (Japanese, 1876-1950), three woodblock prints including: “Morning of Abuto”, c. 1930, signed and sealed lower right, pencil-signed and titled lower margin; “Ronoshima”, c. 1930s, signed and sealed lower right, pencil-signed and titled lower margin; and “Suzukawa”, c. 1935, signed and sealed lower left, pencil-signed and titled lower margin; each image 9 5/8 in. x 14 3/4 in., sight 10 1/4 in. x 15 1/4 in., each double matted and framed alike, (3 pcs.) $1500/2500 W 521. A Japanese Imari

Porcelain Dish, late 19th/early 20th c., central shishi medallion encircled by shaped bird and flower panels on an iron red and gilt ground, diameter 14 1/8 in. $250/350 522. A Japanese Ivory-Mounted Bronze Figure of an Elephant, modeled in a galloping stance with trunk raised high in the air and tail held straight back, base with two character mark, ivory tusks, one with loss, height 14 3/4 in., width 22 3/4 in. $800/1200 Provenance: Mobile, AL Collection.

W 523. Nakajima Kijoshi (Japanese,

1898-1989), “Dream Patterns”, c. 1983, woodblock print, signed lower right, Kyoto Hanga-In publisher’s seal lower right, pencilsigned lower right margin, with Gilbert Luber Gallery, Philadelphia, label en verso, sight 17 3/4 in. x 13 in., framed. $150/250 Provenance: New Orleans Collector. W 524. Two Asian Ivory Circular

Boxes, the first Japanese, carved around the sides with figures in a garden landscape, flat cover with rose head finial, signed, height 4 in., width 4 in.; the second Indian, deeply carved around the sides with elephants and trees, stepped, domed cover with elephant roundel, height 4 1/2 in., width 5 1/2 in.

527

$400/600 W 530. A

Tibetan Bronze and Iron Vajra, probably 18th/19th c., central grip modeled with mask heads and foliage, the points comprised of multiple dragon and phoenix prongs terminating in balls, length 10 1/4 in.

W 525. A Pair of Indian Brass-

Mounted Carved Wood Figures of Guardian Leopards, each figure carved in a walking stance with its detachable long tail elegantly curving behind, height 24 in. $800/1200 Provenance: With Art of Old India, Dallas, TX, 1982; to current owner. 526. An Indian Mughal Damascened Steel Ceremonial Axe, probably 18th c., banded tapering cylindrical shaft issuing an elegantly curved axe head terminating in a stylized deer’s head with long twisted horns and upright ears, the blade with differing bands of foliage on either side, the shaft and handle further banded with foliage and decorative scrolls, length 29 in. $800/1200 527. A Fine Southeast Asian Bronze Rain Drum, probably 18th c., cylindrical body with waisted flared neck and flat top, the top with a central sunburst roundel encircled by concentric bands enclosing geometric motifs and fish, the outer edge mounted with four pairs of piggy-back frogs, pairs of strap handles to two sides, one with a procession of elephants beneath, height 18 1/2 in., width 24 in. $2500/3500 Provenance: With James Willis Tribal Art, San Francisco, CA; to current owner, 2009.

$400/600

526

528. An Antique Asian Carved Wood Figure of a Monk, male figure carved seated upon a sloping waisted lotus base, his legs tucked neatly beneath his thighs and his arms raised in prayer, wearing a downcast serene expression, height 14 1/2 in. $400/600 Provenance: With James M. Barker, Santa Fe, NM; to current owner. W 529. A Tibetan Thangka, probably

19th c., colors and gilt on cloth framed by embroidered silk, depicting Buddhist figures in a landscape amid clouds, mountains and foliage, the central figure seated beside lotus stems bearing the Prajnaparamita book and holding the Wisdom Sword in his right hand while the left is raised in surya mudra, inscribed en verso, painting 31 1/2 in. x 21 5/8 in., overall 44 3/4 in. x 31 in. $500/700

528

Provenance: Acquired c. 1930s by Times-Picayune reporter and founding member of New Orleans Japan Society, Prescott Follett; thence by descent in the family.

W 531. A Tibeto-Chinese Gilt Bronze

Figure of Tara, probably 19th c., cast seated in lalitasana on a waisted lotus pedestal with the right foot resting on a diminutive lotus rising from the base, her right hand resting on her right knee, the left lowered on the lotus base carrying a lotus stem, height 6 1/2 in. $700/900 W 532. A Sino-Tibetan Thangka, probably 19th c., colors and gilt on cloth mounted to paper backing, depicting multiple standing figures, three with aureoles, height 48 1/4 in. x 23 in.

$500/700 Provenance: Florida Collection.

W denotes the lot is illustrated at www.nealauction.com

127

W 537. A Group of Three

Chinese Sancai Glazed Pottery Figures of Attendants, probably Tang Dynasty (618-907), including a standing male figure carrying a bird, height 12 1/8 in.; a standing female figure carrying a musical instrument, height 13 1/2 in.; and a kneeling female figure carrying a musical instrument, height 7 1/8 in. $600/800

534

Provenance: New Orleans Collection. 538. A Chinese Blue and Sancai Glazed Figure of a Male Attendant, probably Tang Dynasty (618-907), modeled standing on a triangular plinth with his hands raised to his chest, height 12 in. $400/600 Provenance: New Orleans Collection. W 539. A Chinese Glazed

Pottery Figure of a Female Attendant, probably Tang Dynasty (618-907), elegant figure modeled in a swaying stance carrying a musical instrument, height 11 1/2 in. $300/500 Provenance: New Orleans Collection. W 540. A Chinese Pale Yellow

Glazed Pottery Figure of a Female Attendant, probably Tang Dynasty (618-907), standing figure modeled carrying a musical instrument, height 8 3/8 in.

538

W 533. A Sino-Tibetan

Thangka, probably 19th c., colors on gilt on cloth mounted to paper backing, depicting a central Buddhist figure seated on a lotus pedestal base, flanked by multiple figures, inscribed cartouche lower middle, 36 in. x 29 5/8 in. $500/700 Provenance: Florida Collection. 534. A Chinese/Tibetan “Gem” Mounted Silver Sword and Scabbard, probably 19th c., straight steel blade, inscribed to one flat side, length 22 in.; silver hilt inset with a floral-form carnelian “gem” at the tri-lobed pommel, hilt to point length 28 1/4 in.; brass or gold inlaid steel edged scabbard with inset silver panels with raised dragon and lion design, inset turquoise and carnelian “gems”, overall length 31 1/8 in. $1200/1800 Provenance: Sante Fe, NM Collection

128

$300/500 Provenance: New Orleans Collection.

541

W 535. A Pair of Chinese Celadon

Covered Urns, ovoid bodies with tall necks encircled by a figural band, the tiered domed covers further banded by figures and animals, the tops with tiered square structures, height 39 in. and 39 1/4 in. $4000/6000 W 536. A Chinese Pottery Figure of

Court Lady, probably Tang Dynasty (618907), modeled in a dancing position with one hand upon a raised knee and the other on her hip, height 9 in. $300/500 Provenance: New Orleans Collection.

541. An Antique Chinese Carved Wood Figure of the ‘Water Moon’ Guanyin, life-size bodhisattva carved seated in rajalilasana, or royal ease, elegantly positioned with the right arm draped delicately over the raised right knee while the left arm rests at the side supporting the weight of the figure, wearing a tiara with tall central ornament that partially obscures the high chignon, a pendant-hung beaded necklace, and a scarf draped over the left shoulder extending over the right forearm, overall trace gesso and polychrome pigment, height 39 1/4 in. Note: Scattered losses commensurate with age. $4000/6000 Provenance: Florida Collection.

W 542. A Chinese Archaistic

Celadon and Russet Jade Fish, probably 19th c., elongated fish form body with pierced head, height 3 3/8 in. $400/600 Provenance: Florida Collection. 543. A Chinese Pale Celadon and Russet Jade “Nine Dragon” Plaque Pendant, probably Ming Dynasty (1368-1644), thick rectangular form with pierced top, relief carved to the front and back sides with nine sinuous qilong dragons, height 2 1/2 in., width 1 3/4 in., depth 3/8 in. $3000/5000

544

543

Provenance: Florida Collection. 544. A Chinese White and Russet Jade Bird Finial, probably Ming Dynasty (1368-1644), recumbent bird carved with its legs tucked neatly beneath its breast, the two wings curving upward from its sides and the tail feathers sloping downward, pierced center, height 1 3/8 in., width 1 3/4 in. $1500/2500 Provenance: Texas Collection. 545. A Chinese Bronze Covered Censer and Stand, probably Qing Dynasty (1644-1911), tapering rectangular body with Buddhist lion mask handles raised on four ruyi feet, elaborately relief cast with various mythical beasts amid waves, domed cover pierced with dragons, phoenix birds, and clouds, coiled dragon finial, fitted stand with ruyi feet, base with Xuande mark, overall height 13 3/4 in., storage box.

545

$1200/1800 547 546. A Chinese Patinated Bronze Censer and Stand, probably Qing Dynasty (1644-1911), U-form bowl with two upright loop handles raised on three elephant head and trunk feet, base with Xuande mark, fitted bronze tri-lobed ruyi form stand, overall height 9 3/4 in., storage box.

547. A Large Chinese Fahua Glazed “Tilework” Pottery Figure of a Lokapala, Ming Dynasty (1368-1644), the guardian king modeled standing on a pierced rectangular plinth in full military aspect carrying a lute in his arms and leaning forward to gaze below, height 27 3/4 in.

$1000/1500

$5000/7000 Provenance: Florida Collection.

546 W denotes the lot is illustrated at www.nealauction.com

129

W 557. A Pair of

Chinese Famille Verte Porcelain Buddhist Lions, the male and female figures modeled seated on their haunches upon rectangular plinths, the male holding a ribbon hung “brocade” ball, the female with a playful pup, height 18 in.

554

$1000/1500

W 548. A Chinese

555

Horseshoe Back Armchair, probably early 20th c., curving crestrail with downswept arms ending in outswept handrests on turnedflange and S-curve supports, serpentine backsplat, woven mat seat over pierced apron, squared turned legs, stepped stretchers, footrest, height 37 in., width 23 1/2 in., depth 18 1/4 in.

W 553. An Antique Chinese

Bronze Baluster Vase, lobed baluster body with tall flared neck and tiered splayed foot raised on an intrinsic reticulated hexagonal base, height 19 7/8 in. $600/800 Provenance: Mobile, AL Collection.

$600/800 Provenance: New Orleans Collection. 560 W 549. A Chinese

Carved Yaozhou Celadon Covered Jar, U-form body with flat everted rim raised on a tall splayed stem foot, domed cover with finial, carved throughout with scrolling floral vines, height 6 7/8 in. $400/600 W 550. A Chinese

554. A Chinese Bronze Censer, probably 19th c., compressed globular body with waisted splayed foot and waisted wide mouth rim, with two large confronting qilong dragons climbing up the sides and over the mouth, base with Xuande mark, height 7 3/4 in., width 15 in. $1000/1500

W 551. A Group of Eight

Chinese Blue and White Porcelain Candlestands, comprised of four pairs variously decorated with figural, dragon and Buddhist emblem design, height 10 in. to 12 3/4 in. $700/900 W 552. A Chinese Blue and

Blue and White Porcelain Dish, shallow U-form body with wide everted rim, boldly decorated throughout with floral sprays, height 2 5/8 in., diameter 16 1/2 in.

White Porcelain Three-Piece Altar Garniture, central censer with bombe body inset with wood scroll handles, tiered square neck and mouth, raised on four splayed feet, flanked by two tiered candlestands, overall scrolling floral vine decoration, censer height 12 1/2 in., candlestand height 15 1/8 in.

$500/700

$700/900

Provenance: Mobile, AL Collection. 555. A Chinese Patinated Bronze Covered Censer, probably Qing Dynasty (1644-1911), square form body with waisted neck, everted rim and dragon form handles, supported overall on the shoulders on four guardian figures, relief decorated with mythical animals, birds and fish on a wave ground, reticulated cover with dragon-wrapped pearl finial, base with Xuande mark, height 16 3/4 in. $1000/1500 Provenance: Mobile, AL Collection. W 556. A Chinese Blue and

White Porcelain Brushpot, cylindrical body decorated with a continuous landscape with traveling nobles, height 9 1/4 in., diameter 9 1/2 in. $200/400

130

W 558. A

Chinese Famille Verte Porcelain Rouleau Vase, probably 19th/20th c., decorated around the tapering cylindrical body with warriors and nobles in a wooded landscape set with tented structures, the molded tall neck decorated with a figure of Shoulao beside a deer with a bat flying overhead, base with apocryphal Chenghua mark, height 18 1/4 in. $500/700 W 559. A Chinese

“Liver Red” Glazed Porcelain Bowl, U-form body raised on straight foot ring, base with apocryphal Kangxi mark, height 2 3/8 in., diameter 5 1/2 in., storage box. $500/700 560. A Chinese Bronze Vase and Cover, probably 17th/18th c., elegantly lobed baluster body with broad, tall shoulders, straight neck with everted rim, and splayed base raised on a straight foot ring, conforming domed cover in the form of a chrysanthemum head surmounted by a tall finial, height 8 3/8 in. $1500/2500 Provenance: Florida Collection.

W 561. A Pair of

Chinese Famille Verte Porcelain Vases, each baluster body enameled with nine dragons in flight amid clouds and flaming pearls above a band of undulating waves at the splayed foot, each base with apocryphal Kangxi mark, height 15 7/8 in. $600/800 562. A Chinese Scholar’s Rock, weathered reddish stone of well balanced contorted form rising from a small foot, height 22 in., fitted wood stand, overall height 26 in.

562

565

566

$1200/1800 563. A Chinese Carved Wood Brush Pot, cylindrical body with petal-lobed mouth, carved around the sides with four mythical beasts, height 9 1/2 in., diameter 10 3/4 in. $400/600 W 564. A Chinese Gilt

Metal-Mounted Ivory Incense Stick Holder, cylindrical ivory body reliefcarved around the sides with dragons in pursuit of the flaming pearl amid cloud scrolls, the upper portion mounted with a reticulated gilt metal cap, recessed interior pierced, mounted to a wood stand, overall height 6 5/8 in. $300/500 Provenance: Estate of Judith Gic Shelton (1947-2011), New Orleans, LA. 565. A Chinese Patinated Bronze Figural Pricket Stand, probably 19th c., modeled as a qilin standing upon a waisted quadrilobed base carrying a flowering magnolia branch in its mouth, height 28 3/4 in., width 10 in. (2 pcs.)

563

566. A Chinese Ivory Figure of Shoulao, carved standing in a swayed stance following the natural curvature of the tusk, holding a gnarled staff between his hands and wearing voluminous robes incised with wave roundels, ribbon-tied gourds, leaves and flower heads, base with apocryphal Chenghua mark, height 14 1/2 in.

567

$1000/1500

567. A Chinese Kesi Military Rank Badge, Qing Dynasty (1644-1911), woven in slit weave technique with a fifth rank bear standing amid clouds and auspicious objects atop a rock outcropping above frothing waves and a lishui band, framed by a wan diaper border, height 11 5/8 in., width 12 3/8 in.

Provenance: Mobile, AL Collection.

$2000/3000 Provenance: Florida Collection.

$600/800 W denotes the lot is illustrated at www.nealauction.com

131

568

569. A Chinese Double Sword and Scabbard, probably Qing Dynasty (16441911), each single edged steel blade gently curving upward toward the tip, double fullers, length 30 1/2 in. and 30 3/4 in.; each with matched trilobed bronze guard, canted grips, bronze “horse-hoof” pommels, hilt to point length 37 in. and 37 1/4 in.; bronzemounted wood scabbard, overall length 39 1/8 in. $4000/6000 Provenance: Santa Fe, NM Collection.

569

570. A Chinese Sword and Scabbard, probably Qing Dynasty (1644-1911), single edged polished steel blade gently curving upward toward the tip, inscribed on one flat side, single narrow fuller, length 30 in.; fabric wrapped, tassel-hung grip between finely chiseled bronze guard and pommel, hilt to point length 37 1/4 in.; finely chiseled bronzemounted wood scabbard, overall length 38 1/2 in. $3000/5000 Provenance: Santa Fe, NM Collection.

570

571. A Chinese Sword and Scabbard, probably Qing Dynasty (1644-1911), triangular sectioned double-edged diamond point blade, length 26 1/2 in.; shaped silver guard with confronting dragons in relief, silver-mounted manta ray shagreen grip, silver ruyi pommel with further dragons, hilt to point length 34 3/8 in.; silver and manta ray shagreen mounted wood scabbard, overall length 40 7/8 in. $7000/9000 Provenance: Santa Fe, NM Collection.

571

568. A Chinese Sword and Scabbard, probably Qing Dynasty (1644-1911), the blade possibly earlier, bronze-mounted single-edged folded and laminated steel blade gently curving upward from the raised false edge, inscribed on one flat side, single fuller above a continuous narrow groove issuing from four narrow grooves at the hilt, stepped back, length 29 5/8 in.; reticulated bronze guard with dragon design, canted leather-wrapped pierced grip, bronze pommel, hilt to point length 36 1/4 in.; bronze and manta ray shagreen mounted wood scabbard, overall length 38 in. $4000/6000 Provenance: Santa Fe, NM Collection.

132

572. A Chinese Sword and Scabbard, probably Qing Dynasty (1644-1911), single edged “oxtail” steel blade sharply curving upward toward the tip, notched back near hilt, triple fuller, length 30 5/8 in.; inverted cup shaped iron guard, lacquered stringwrapped canted grip, iron “horse hoof” pommel, hilt to point length 39 1/2 in.; iron mounted, lacquered string-wrapped scabbard, overall length 41 in. $1000/1500 Provenance: Santa Fe, NM Collection.

572

573. A Chinese Sword and Scabbard, probably Qing Dynasty (1644-1911) and later, fine single edged “tiger striped” steel blade, probably wootz, gently curving upward from the raised false edge, interrupted six-part fuller above a narrow continuous fuller, length 30 7/8 in.; later pierced bronze guard, canted lobed wood grip, and pierced bronze “horse hoof” pommel, hilt to point length 39 in.; later pierced bronze-mounted wood scabbard, overall length 40 1/2 in.

573

576. A Chinese Seed Pearl, Hardstone and Kingfisher Feather-Mounted Headdress, Qing Dynasty (1644-1911), gilt metal kidneyform frame applied with vibrant blue kingfisher feathers and inset with seed pearls, jadeite, rose quartz and other hardstones, sight height 5 1/2 in., width 9 in., presented within a shadow box frame, height 11 in., width 14 in., depth 2 in.

$1000/1500 W 574. A Set of Three Chinese Ivory

Figures of Warriors, the central figure carved seated astride a horse bearing multiple flags on his back and carrying a sword in one hand and a spear in the other, height 8 1/4 in.; flanked on either side by a spearsman and an archer; each mounted to a carved wood plinth, overall height 10 in., width 11 3/4 in. $800/1200 Provenance: Oklahoma Estate Collection.

$1000/1500 Provenance: Estate of Judith Gic Shelton (1947-2011), New Orleans, LA.

575. A Chinese Famille Rose and Iron Red Decorated Porcelain Dish, probably 18th/19th c., shallow conical body raised on a short foot ring, painted to the interior with a scene of a maiden standing on a flat boat in a lotus pond holding a bamboo pole, the exterior sides with bamboo sprays, base with Yongzheng mark, height 1 7/8 in., diameter 11 7/8 in.

575 W 577. A Chinese Gilt

Decorated Iron Red “Kinrande” Porcelain Teapot, probably 19th c., globular body with a short neck raised on a short foot ring, loop handle, scroll spout and domed finialed cover, decorated throughout with vining floral sprays, base with Qianlong mark on a pale blue ground, height 4 5/8 in., width 7 1/4 in.

$1000/1500 Provenance: Texas Collection.

$500/700

576 W denotes the lot is illustrated at www.nealauction.com

133

579. A Chinese Kesi Panel, Qing Dynasty (1644-1911), rectangular form divided in two parts, each woven in mirror image of the other in slit weave technique with a five clawed dragon amid clouds, bats and bajixian above further dragons, a terrestrial diagram, and a wide lishui band, black silk frame, cotton backing, height 85 1/2 in., width 27 3/4 in. $2000/3000 Provenance: Florida Collection. 580. A Fine and Rare Chinese Kesi Panel, Qing Dynasty (1644-1911), woven in slit weave technique with a ribbon-tied double gourd “Da Ji” vase set with peony and hibiscus blossoms, supported by four children standing on cresting waves before a rock outcropping with peony, aster and bamboo, lower portion woven with a gold border and fringe, height 69 in., width 39 1/2 in.

578

$10000/15000 W 581. A Chinese Ivory Figure of a

Beauty, standing figure carved holding a fan in one hand and a flower spray in the other, base with apocryphal Qianlong mark, height 7 3/4 in., wood stand, overall height 8 1/2 in. $400/600 W 582. A Chinese Famille Rose

Porcelain Table Screen, probably late 19th/early 20th c., molded rectangular plaque painted with scene of a couple beside a tent beneath pine trees, faux bois painted porcelain stand, overall height 11 1/4 in., width 6 3/4 in., depth 3 1/2 in., (2 pcs.) $400/600 W 583. A Chinese Famille Rose

579

580

578. A Fine and Rare Chinese Famille Rose Turquoise Ground Porcelain Circular Box and Cover, Qing Dynasty (1644-1911), the cushion form slightly domed cover finely relief molded with the petals of a peony blossom picked out in iron red and gilt, each petal painted with an alternating pink or blue floral spray within, the sides of the cover and box banded with upright and pendant ruyi heads flanked by a dotted band above and a stiff leaf band below, all reserved on a pale blue turquoise ground, base with six character Qianlong mark in underglaze blue, height 1 1/2 in., diameter 2 3/4 in. $15000/25000

134

Porcelain Mille Fleur Vase, probably early 20th c., bulbous body with flared neck and stylized serpent handles raised on a short splayed foot ring, decorated with shaped panels enclosing boys at play in garden landscapes reserved on a gilt ground strewn with flower heads, base with Qianlong mark, height 13 1/4 in., storage box. $800/1200

591

W 588. A

584

Chinese Coral Figural Group of Guanyin and an Attendant, the principal branch carved as a beautiful female figure carrying an overturned vase in one hand and a fly whisk in the other; the secondary branch carved as a young boy, height 5 1/2 in., wood stand, overall height 6 1/4 in.

589

584. A Chinese Ivory Figure of Guanyin, carved seated on a reticulated double lotus pedestal holding a willow bough in one hand and the Vase of Immortality in the other, height 6 in., wood stand, overall height 7 1/8 in. $1000/1500 585. A Chinese Famille Rose Porcelain Bottle Vase, probably early 20th c., ovoid body with a tall flared neck with applied dragontongue handles, raised on a tapering foot ring, decorated with a continuous scene of boys at play within a garden setting, base with Qianlong mark, height 12 1/2 in.

590

585

$1500/2500 Provenance: Florida Collection, acquired Connecticut, c. 1990s. W 586. A Chinese Polychrome

and Gilt Decorated Black Lacquer Garlic Form Box, probably early 20th c., the gently lobed sides decorated with alternating shaped cartouches enclosing bats and shou and peach and lingzhi on a black ground strewn with vining floral sprays, height 10 in., width 18 1/4 in. $800/1200 Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA.

$300/500 Provenance: Oklahoma Estate Collection.

589. A Chinese Coral Figural Group, the principal branch carved as a standing celestial beauty balancing a monkey upright on her shoulder, with an attendant grasping her knees below, the branching short forks carved as monkeys on either side of her feet, height 8 7/8 in., mounted to a wood stand, overall height 10 3/8 in. $6000/9000

W 587. A Chinese Ivory

Tripod Censer and Cover, globular body with dragon’s neck handles suspending loose rings raised on lion’s mask and paw feet, carved around the sides with dragon panels, the cover surmounted by a coiled dragon amid clouds, apocryphal Qianlong marks, height 7 1/8 in., wood stand, overall height 8 1/8 in.

590. A Chinese Coral Figural Group, the forking branch carved to each side as a beauty standing beside a leafy branch, height 4 1/4 in., mounted to a wood stand, overall height 5 in. $1500/2500 591. A Chinese Corner Leg Square Table, 19th/early 20th c., probably Huanghuali, waisted square top over pierced apron on square legs terminating in scroll toes, height 33 1/2 in., width 37 1/2 in., depth 37 1/2 in.

$400/600

$800/1200

Provenance: Oklahoma Estate Collection.

Provenance: New Orleans Collection.

W denotes the lot is illustrated at www.nealauction.com

135

W 596. A Chinese

“Wucai” Porcelain Bowl, probably 20th c., rounded conical body raised on a circular foot, decorated with floral sprays and entwined scrolls, base with Daoquang mark, height 2 1/2 in., diameter 6 in. $300/500

592

592. A Set of Four Chinese Side Chairs, 19th/early 20th c., probably Huanghuali, undulating top rail supported on curved stiles continuing to the back legs, serpentine backsplat, hard seat over pierced apron on turned legs, stepped stretchers, footrail, height 38 in., width 19 3/4 in., depth 16 in.

597

597. A Fine Chinese White and Black Jade Figure of Liu Hai, probably 18th c., small boy carved utilizing the pure white portion of the stone standing atop a mottled black three legged toad holding cash in his right hand and a pair of lingzhi sprays behind his back in his left, height 2 in. $5000/7000 Provenance: Florida Collection.

$1000/1500 Provenance: New Orleans Collection. 595

598

598. A Chinese Greyish White and Russet Jade Figural Group, probably 19th c., rounded form carved to the front with two figures of young boys, the reverse carved with lotus leaves, a prunus spray, and a three legged toad, height 1 7/8 in., width 1 3/4 in. $1000/1500

W 594. A Chinese “Langyao”

Copper Red Glazed Porcelain Amphora Vase, probably early 20th c., tapering ovoid body with tall “beauty’s” shoulders beneath a cylindrical flared neck, base with Daoguang mark, height 15 in., storage box. $800/1200

Horseback in a Wooded Landscape”, ink on silk, inscribed and sealed upper left, sealed lower right, 13 1/4 in. x 20 1/4 in., mounted as a hanging scroll.

595. A Rare Chinese Ivory Mounted Carved Gourd Bottle Vase, probably 19th c., carved around the globular body with a continuous scene of birds, butterflies, flowers and rock between bands of pendant leaf tips at the ivory collared mouth and foot, the shoulder with a four character inscription, base with Daoguang seal mark, height 9 in.

$600/800

$2000/3000

Provenance: Acquired New York, NY, c. 1960s-1970s.

Provenance: Texas Collection.

599

W 593. Asian School, probably 19th/20th c., “Warrior on

136

Provenance: Florida Collection. 599. A Chinese White Jade Brush Washer, quadrilobed body raised on a waisted quadrilobed foot carved to the short sides with two lion mask handles, one long side carved with a qilong clambering up the wall of the bowl and peering into the mouth, height 2 3/4 in., width 5 5/8 in. $3000/5000 Provenance: Texas Collection.

600. A Fine Chinese White Jade Vase, probably 19th c., lobed bamboo shoot form relief carved around the sides with the Three Friends of Winter, prunus, pine and bamboo, set with a pair of cranes holding lingzhi sprays in their beaks, base with Australian Antique Dealers Association label, height 6 7/8 in. $9000/11000 Provenance: Florida Collection. 601. A Fine Pair of Chinese Jade and Hardstone Embellished Lacquered Hardwood Wall Panels, probably 19th c., each peach colored lacquer ground embellished with finely carved jade, soapstone, wood and mother-of-pearl; the first with a green jade meiping vase issuing multi-colored prunus branches and tazetta blossoms, beside a caparisoned elephant, a Buddhist lion group, and a dragon toggle; the second with a green jade gu vase issuing multi-colored chrysanthemum blossoms, beside a goose holding a spray of peaches, a jade chime on stand, a white jade inset ruyi scepter, and a bowl of fruit, each sight 42 in. x 27 1/2 in., carved wood frames, probably zitan, overall 45 1/2 in. x 30 3/4 in., gilt bronze hanging mounts.

600

602

$12000/18000 602. A Pair of Monumental Chinese Ivory Phoenix Birds, each magnificent bird depicted in mirror image of the other with a peony spray in its beak standing on a naturalistic rockwork base issuing an intricate profusion of peony blossoms, heights 38 3/4 in., mounted to wood plinths, overall heights 42 1/2 in. $6000/8000 Provenance: New Orleans Collection.

601

W 603. A Pair of Chinese Ivory Male and Female Figures, each standing figure

carved in swaying stance following the natural curvature of the tusk, the male holding a tasselhung gnarled wood staff in one hand and a chrysanthemum branch in the other, the female caressing a flowering prunus branch in both arms, each base with apocryphal Qianlong mark, height 12 1/4 in. $1500/2500 Provenance: Mobile, AL Collection. W denotes the lot is illustrated at www.nealauction.com

137

606. A Massive Chinese Hardstone Figure of a Ram, recumbent beast carved with its four legs folded neatly beneath its body, its head with long curled horns resting on its backside, height 18 1/4 in., width 24 1/4 in., presented on a carved black and red guri lacquer kang table with scroll feet, base with apocryphal Xuande mark, height 9 3/4 in., width 27 in., depth 14 1/8 in., overall height 28 in.

607. A Pair of Monumental Chinese Jadeite ‘Long-Life’ Crane and Pine Figural Groups, each reticulated group modeled in mirror image of the other with a crane carved standing on the stump of an old pine tree, between entwined branches carrying a long-life sacred lingzhi fungus in its mouth with a rising sun behind its head, heights 16 in., widths 9 1/2 in., carved wood stands, overall heights 19 in. $4000/6000 Provenance: New Orleans Collection. W 608. A Chinese Gilt Bronze Censer,

rectangular body with upright loop handles on four zoomorphic mask cylindrical legs over a rectangular plinth with elephant head and trunk scroll feet, height 19 in., width 11 in., depth 9 5/8 in.

$2000/4000

606

Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA.

$600/900 Provenance: Baton Rouge, LA Estate Collection. W 609. A

610

Chinese Bronze Censer, 19th/20th c., octagonal bowl form body with ruyi loop handles raised on four lion’s mask feet, relief decorated with eight alternating dragon and phoenix panels on a basket-weave ground, height 9 1/2 in., width 13 in., depth 11 in. $200/300 Provenance: Baton Rouge, LA Estate Collection.

607

W 604. A Chinese Ivory Doctor’s Lady, elegant reclining nude

carved wearing earrings, bracelets and shoes, length 8 1/2 in. $600/800 Provenance: Mobile, AL Collection.

611

W 605. A Set of Three Chinese Gilt Bronze and Ivory

Figures of Luohan, including Taming Tiger Luohan, Taming Dragon Luohan, and Doorman Luohan, each standing figure modeled with its attribute in its raised hands, heights 5 1/4 in., wood stands, overall heights 6 1/8 in., presented on a wood platform stand, width 9 in., depth 3 3/4 in. $400/600 Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA.

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610. A Pair of Chinese White Glass Altar Vases, each of tapering rectangular form with waisted faceted necks and flat mouth rims, bases with apocryphal Qianlong marks, height 6 5/8 in., storage box. $800/1200

611. A Chinese Gold Flecked Ruby Red Glass Brushpot, cylindrical body carved around the sides with figures in a mountainous landscape, inscribed, base with apocryphal Qianlong mark, height 5 3/4 in., diameter 6 in., wood stand, overall height 8 in. $600/900

W 612. A Chinese Silver `Heavenly

Creatures’ Octagonal Box, 19th c., faceted sides repoussé decorated with shaped cartouches enclosing a dragon, a phoenix, a qilin, and a tortoise, between insect and flower cartouches, hinged cover with butterfly and flower decoration within a raised chrysanthemum head reserve, height 4 1/2 in., width 7 3/8 in. Note: Tested .500 silver. $400/600 613. A Chinese Silver Vase, 19th c., maker’s mark HW, for Hone Wo, Hong Kong, silversmiths and retailers, slender ovoid body with lion’s mask and loose ring handles beneath a waisted flared neck, relief decorated around the sides with figures in garden landscapes, base marked “90”, “HW”, and with Chinese characters, height 8 3/4 in., weight 14.45 troy ozs.

614

613

$1200/1800 Provenance: Florida Collection. 614. A Chinese Rouge Marble Inset Hardwood Side Table, 19th c., foliate form marble inset top over pierced waist, reticulated apron and carved serpentine legs terminating in ball and claw feet, medial shelf, height 22 1/2 in., width 26 1/2 in., depth 26 1/2 in. $600/800 W 615. A Chinese Embroidered Silk

Table Frontal, Qing Dynasty (1644-1911), lower portion with four roundels enclosing fruit, bats and auspicious emblems above a repeated terrestrial diagram and lishui stripe, picked out in satin and knot stitch on a blue silk ground, beneath a wide upper band of floral sprays and flower heads on a greygreen ground, cotton backing, height 44 in., width 73 1/4 in. Note: Estate condition. $600/800 Provenance: Florida Collection. 616. A Chinese Famille Rose and Iron Red Decorated Porcelain Peach Dish, probably 19th c., shallow U-form body raised on a short tapering foot ring, decorated with a large peach branch laden with ripe peaches extending from the exterior walls to the interior well, the well with three iron red bats in flight, base with Guangxu mark, height 1 3/8 in., diameter 9 in. $1000/1500 Provenance: Texas Collection.

W 617. A Pair of Iron Red

Decorated Porcelain Meiping Vases, probably late 19th/early 20th c., thinly potted bodies of tapering ovoid form with broad shoulders, short waisted necks, and splayed feet, decorated with dragons amid clouds in pursuit of the flaming pearl, bases with Guangxu marks, height 6 3/4 in., storage box. $600/800 W 618. A Chinese Polychrome

and Gilt Lacquer Stacking Box and Carrying Case, two-tiered circular box and cover decorated around the sides with shaped cartouches enclosing bats and shou, the cover with a ying-yang roundel encircled by Buddhist emblems, the footed carrying case with bronze mounted strap handle, overall height 17 1/8 in.

616

W 620. A Chinese Famille Rose Leaf-Form

Box and Cover, probably 19th c., shaped body with steep walls decorated with butterflies, melons and birds, the cover with inset pierced well, height 1 3/4 in., width 5 in. Note: Small break along foot. $200/300

$400/600 Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA; acquired 1985. W 619. Chinese School,

probably 19th/20th c., “Mountainous Landscape with a Boat, a Bridge and Huts”, ink and color in silk, inscribed and sealed upper right, sealed lower left, 46 1/4 in. x 10 in., mounted as a hanging scroll.

W 621. A Chinese Famille Rose Porcelain

Vase, probably early 20th c., ovoid body with waisted flared neck with pierced handles, decorated to one side with a young boy riding a qilin with female attendants at his side, the other side with a long calligraphic inscription, base drilled, height 22 3/4 in. $300/500 Provenance: Mobile, AL Collector; acquired San Francisco, CA, c. 1977.

$500/700 Provenance: Bucks County, PA collector; to current owner. W denotes the lot is illustrated at www.nealauction.com

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W 626. A Chinese Gilt and

Lacquered Wood Figure of Guanyin, elegant, serene figure carved standing upon a lotus base raised on a swirling cloud mound, carrying an overturned vase in her left hand, overall height 59 1/4 in. $1000/1500 W 627. A Pair of Chinese

Cloisonné Enamel Covered Stem Bowls, 20th c., each footed bowl set with a removable circular box surmounted by a domed finialed cover, overall auspicious emblem and floral scroll design, height 8 in., wood stands, overall height 9 in. 622

624

$300/500 Provenance: Estate of Margaret Winling Gulotta (1928-2007), New Orleans, LA. W 628. A Chinese

625

Cloisonné Enamel Covered Vessel, 20th c., U-form body with scroll spout and ring handle raised on a wide foot ring, stepped domed cover, decorated throughout with dragons, auspicious symbols and foliage on a rouge red ground, base with Qianlong mark, height 3 7/8 in., width 7 3/4 in.

630

$400/600 622. Two Chinese Famille Rose Porcelain Baluster Vases, probably late 19th/early 20th c., each baluster body with a tall neck applied with pierced flange handles, one decorated with figural panels, the other with birds, butterflies and scholarly accoutrements, height 22 1/4 in. and 22 3/4 in. respectively.

624. A Gilt Bronze-Mounted Chinese Famille Rose Porcelain Covered Jar, probably 19th c., baluster form jar and domed cover decorated with bird and flower panels on a lemon yellow ground strewn with vining flowerheads, set on a gilt bronze plinth and with a flame finial, now mounted as a lamp, plinth to finial height 17 3/8 in. $1000/1500

$600/800 Provenance: Florida Collection. W 623. A Group of Chinese

Famille Rose Porcelain Table Items, 18th/19th c., comprised of a cup and saucer with prunus decoration, cup height 1 5/8 in., saucer diameter 4 3/4 in., and a bowl with vibrant phoenix, peony, prunus, and rock design, height 2 1/2 in., diameter 5 5/8 in., (3 pcs.) $400/600 Provenance: Florida Collection.

140

625. A Pair of Large Chinese Cloisonné Enamel Buddhist Lions, 20th c., each male and female figure modeled seated on its haunches upon a rectangular plinth, the male with a ribbon tied ball beneath its right forepaw, the female with a cub beneath its left forepaw, height 19 1/2 in., width 13 in., depth 18 1/4 in., raised on custom hardwood stands, overall height 35 in., width 15 3/8 in., depth 20 5/8 in. $1200/1800 Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA; acquired 1985.

Provenance: Estate of Margaret Winling Gulotta (1928-2007), New Orleans, LA. W 629. A Chinese Bone Inset

Cloisonné Enamel Double Gourd Vase and Cover, waisted globular body with domed finialed cover, splayed foot and dragon handles inset on either side of both bulbs with shaped bone panels carved with boys at play, height 19 1/8 in. $400/600 630. Two Chinese Polychrome Decorated Ivory Standing Male Figures, the first bearded male carved wearing scholarly dress and holding a fan; the second bearded figure carved holding a large fruiting and flowering prunus branch, height 10 in., wood stands, overall height 11 1/4 in. $2000/3000

W 631. A Group of Three Chinese

Ivory Figures of Beauties, each figure carved wearing elegant robes, a celestial scarf, and a phoenix bird headpiece and carrying a large flower blossom in her hands, height 6 in. to 6 1/8 in., wood stands, overall height 7 in. to 7 1/8 in. $500/700 Provenance: Oklahoma Estate Collection. 632. A Chinese Ivory Figure of a Noblewoman, elegant standing figure carved wearing intricately detailed robes, a bird and bead embellished headdress and carrying a ruyi scepter in one raised hand, height 11 1/4 in., wood stand, overall height 13 1/4 in. $1000/2000 W 633. A Chinese Ivory Figure of a

634

Happy Fisherman, seated, smiling figure carved wearing a large lotus leaf cap and carrying a fish in his arms, height 7 3/8 in., wood stand, overall height 8 1/4 in. $300/400 632

636

635

634. A Pair of Chinese Carved Bone and Bone Veneer Pedestals, square waisted tops over reticulated aprons and square legs, shaped stretchers, height 36 1/2 in., width 13 1/2 in., depth 10 1/2 in. $800/1200 635. A Chinese/Mongolian Jade, Turquoise, Coral and Silver-Mounted Sword and Scabbard, single-edged straight blade, narrow fuller, length 24 5/8 in.; turquoise “gem” inset silver guard and Mughal jade grip, hilt to point length 30 3/8 in.; silver clad wood scabbard inset with six celadon jade plaques and turquoise and coral “gems”, the top mounted with mythical beast issuing loose rings, overall length 31 in., custom stand, overall height 9 1/2 in. $1000/1500 Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA.

636. A Chinese/Mongolian Horn, Jade, Hardstone “Gem” and Silver-Mounted Dagger and Scabbard, curved blade, narrow fuller, length 12 5/8 in.; silver guard, canted horn grip, and “gem” inset silver makara head pommel, hilt to point length 20 3/4 in.; carved horn scabbard with silver mounts set with jade plaques and turquoise, coral and sodalite “gems”, the top mounted with mythical beasts issuing loose rings, length 33 1/4 in., custom stand, overall height 21 3/4 in. $800/1200 Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA. W 637. A Chinese Embroidered Silk Scenic

Panel, probably 20th c., rectangular panel polychrome embroidered with a scene of a Luohan leisurely resting on a bed with a female attendant behind, mounted to board, sight 21 3/4 in. x 10 1/4 in. $1000/1500 Provenance: Texas Collection.

W denotes the lot is illustrated at www.nealauction.com

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644

638 (1 of 5)

W 639. A Chinese

W 643. A Pair of Chinese Famille

Carved Jadeite Covered Vase, flattened baluster form with domed cover carved within a reticulated surround of blossoming branches, height 8 7/8 in., width 6 1/4 in., wood stand, overall height 10 1/4 in. Note: Small losses.

Jaune Porcelain Vases, faceted rectangular bodies with slightly flared necks and splayed feet applied at the shoulders with qilong handles, decorated with warriors in landscapes on a lemon yellow ground, bases with apocryphal Kangxi marks, height 16 3/4 in.

$400/600 W 640. A Chinese

Hardstone Bird and Branch Group, reticulated naturalistic branch carved with numerous blossoms, buds and birds, height 11 in., width 10 1/2 in., wood stand, overall height 12 1/4 in.

641

$300/500

$700/1000 644. A Pair of Chinese Famille Jaune Porcelain Bowls, probably 20th c., bellform bodies raised on short foot rings, decorated around the sides with auspicious symbols on a lemon yellow ground, each base with a six character Xuantong mark, height 2 3/4 in., diameter 5 1/4 in. $400/600 W 645. A Chinese Blue and White

Porcelain Ovoid Vase, 20th c., sparsely decorated to one side with entwined birds in flight above leafless branches, base with a six character mark, height 3 1/4 in. $200/300

641. A Pair of Chinese Hardstone Trees Set in Cloisonné Enamel Pots, each with naturalistic “bark” trunks, fabric wrapped branches and multicolored hardstone leaves and blossoms raised in circular cloisonné enamel pots, approx. overall height 23 in. $1000/1500

647 (1 of 3)

W 642. A Pair of

638. A Southern Chinese Embroidered Blue Cotton Yao Costume, early 20th c., cotton, silk and beading, including trousers, sash, apron, tunic and scarf, embroidered with geometric patterns, stars and flowers, hung with bead tassels and antique coins, jacket height 35 1/2 in., width 56 1/4 in., (5 pcs.)

Chinese Yellow Glazed Porcelain Meiping Vases, each tapering ovoid body with tall sloping shoulders and a waisted short neck covered on the exterior with a thick lemon yellow glaze, height 13 1/2 in. and 13 3/4 in.

$600/800

$400/600

Provenance: With James M. Barker, Santa Fe, NM; to current owner.

142

W 646. A Pair of Chinese Famille

Rose Porcelain Luohan Plaques, 20th c., the first rectangular tile painted with Overseas Luohan crossing an ocean, the second with Long Eyebrow Luohan beneath a tree, each inscribed, porcelain height 8 1/8 in., width 5 1/4 in., each framed, overall height 13 1/8 in., width 10 1/4 in. $700/900 Provenance: Texas Collection. 647. A Group of Three Chinese Modern “Cultural Revolution” Paintings, 20th c., including “Women Cultivating a Field”, ink and color on paper, signed and sealed lower left, sight 34 1/4 in. x 47 3/4 in.; “Young Women Playing in a Garden”, ink and color on paper, sight 33 3/4 in. x 25 3/4 in.; and “Vendors Taking a Smoke Break”, ink and color on paper, sight 31 7/8 in. x 22 7/8 in., each framed alike. $600/800 Provenance: Estate of James P. Raymond (19312011).

W 648. A Chinese Famille Rose

655. A Pair of Chinese Gold Flecked Amber Glass Bottle Vases, globular bodies with tapering necks and garlic head mouths raised on tall foot rings, carved around the sides with a “lotus pond” scene with ducks, fish and lotus on a wave incised ground, necks with applied lion masks, bases with apocryphal Qianlong marks, height 10 3/4 in., wood stands, overall height 12 3/8 in.

Decorated Blue and White Porcelain Tea Cup and Saucer, each decorated with vibrant figural and floral panels on a blue and white leafy vine ground, saucer diameter 4 3/4 in., cup height 1 5/8 in. $200/400 W 649. A Pair of Large Chinese

Yellow Glass Bottle Vases, each globular body with a tall slightly flared neck raised on a short tapering foot, height 14 7/8 in. and 15 in.

$1500/2500 W 656. A Chinese White Glass

$800/1200 651 W 650. A Pair of Large Chinese

Yellow Glass Bowls, bell form bodies raised on short tapering foot rings, height 5 1/4 in., diameter 11 3/4 in., wood stands, overall height 6 1/4 in.

$700/1000 W 657. A Pair of Chinese Yellow

Glass Double Gourd Vases, waisted globular bodies with flared necks raised on short feet, height 15 in.

$700/1000 651. A Pair of Chinese Ruby Red Glass Octagonal Bottle Vases, faceted globular bodies with tall straight faceted necks raised on an octagonal foot, height 12 in.

$600/900 W 658. A Pair of Chinese Blue

and White Porcelain Bottle Vases, 20th c., pear form bodies with tall tapering necks raised on tall foot rings, intricately decorated with scrolling leafy floral vines, height 15 1/4 in.

$1000/1500 W 652. A Pair of Chinese Blue

Glass Bottle Vases, faceted globular bodies with tall straight necks raised on tall foot rings, height 8 1/2 in., wood stands, overall height 9 3/4 in.

$500/700 653 W 659. Pair of Chinese Blue and

White Porcelain Gu Form Vases, 20th c., cylindrical bodies with flared necks, splayed feet and raised midsections, profusely decorated with cranes in flight amid clouds, height 26 in.

$700/1000 653. A Pair of Chinese Green Splashed White Glass Vases, elongated baluster bodies with flared necks and splayed feet, height 10 1/8in., wood stands, overall height 11 1/2 in.

$1000/1500 W 660. A Chinese Copper Red

$600/900

Decorated Blue and White Porcelain Vase, 20th c., tapering ovoid body with waisted neck and foot, decorated with eight mythical beasts on a copper red stylized wave ground, height 18 5/8 in.

W 654. A Group of Four Chinese

Carved Glass Items, including two similar purple overlay yellow glass covered jars, carved with bats and shou and butterflies and clouds, height 5 1/4 in.; a silver flecked, green overlay ruby red glass brush washer, carved with qilong, base with apocryphal Qianlong mark, height 2 1/8 in., width 4 1/4 in.; and a purple glass foliate rim bowl, carved with lotus and birds, height 2 1/4 in., diameter 4 1/2 in.

Double Gourd Vase, waisted globular body with a flared neck raised on a straight foot ring, height 15 in.

$200/400 Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA. 655

$700/1000 W denotes the lot is illustrated at www.nealauction.com

143

661

662

663

661. A Chinese Copper Red Decorated Blue and White Porcelain Fishbowl, 20th c., tapering ovoid body with waisted neck and wide inverted rim, decorated around the sides with multiple dragons in flight contesting the flaming pearl on a copper red ground, neck with Kangxi mark, height 22 1/2 in., carved wood stand, overall height 33 3/4 in.

662. A Chinese “Wucai” Decorated Blue and White Porcelain Vase and Cover, 20th c., ovoid body decorated with figural, branch and floral panels on a blue and white reserve decorated floral ground with gilt highlights, domed cover with Buddhist lion finial, base with Kangxi mark, height 31 3/4 in., stand, overall height 35 1/4 in.

663. A Chinese Iron Red and Famille Rose Decorated Porcelain Fishbowl, 20th c., tapering U-form body decorated around the sides with large cartouches enclosing boys in garden settings with a large peach and a large finger citron reserved on an iron red ground with phoenix and floral design between raised boss hands, height 16 1/8 in., wood stand, overall height 20 1/8 in.

$300/500

Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA.

$400/600 Provenance: Estate of James P. Raymond (19312011), New Orleans, LA.

144

Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA.

$400/600

Session Two Sunday, November 18, 11 am 3923 Carondelet Street

W denotes the lot is illustrated at www.nealauction.com

145

W 664. A Group of Five Amazonian

W 669. A Large Group of Amazonian

W 673. An Amazonian Gourd

Items, including three carved wood feasting trays, two circular, diameter 20 1/2 in. and 23 1/4 in., and one rectangular, width 39 3/4 in.; a beaded dance apron, mounted to fabric wrapped frame, height 14 1/8 in., width 22 in.; and a square form carved wood mask with raffia beard and hair, wood height 15 3/4 in.

Items, including 5 necklaces, a wood pipe, 3 stone beads, a net bag containing blow dart wadding, a segment of beaded fringe, 3 drop spindles, 2 baskets with contents, one Warao, height 4 in., the other Shipibo, height 9 in. (16 pcs.)

Shaman’s Rattle and a Woven Basket, Peru, the rattle of pierced globular form with carved wood handle and finial, height 15 1/2 in; the telescoping basket with geometric patterns embellished with green and red feathers, height 6 3/4 in., width 13 1/2 in., depth 3 in., (2 pcs.)

$400/600

$200/300 Provenance: With Daniel McLister, c.1970s; to Ethnographicos Amazonas, Santa Fe, NM; to current owner.

W 665. An Amazonian Basketry

Shaman’s Rattle, Wai-Wai, Guyana, cylindrical body, wood handle, height 21 in. $150/250 W 666. A Collection of Seven

Amazonian Carved Wood Body Tattoo Stamps, Piaroa, Venezuela, each of rectangular form, variously carved with geometric patterns, length 3 1/2 in. to 6 5/8 in., width 1 5/8 in. to 2 7/8 in. $150/250

W 670. A Group of Amazonian Items,

including a basket, height 3 1/2 in., width 8 1/2 in., depth 5 1/2 in., containing a wood mortar and pestle, a hog bristle brush, and a tusk knife; and a Shipibo woven purse, height 5 in., containing a double strand coin necklace, length 14 in. (7 pcs.) Provenance: With Daniel McLister, c.1970s; to Ethnographicos Amazonas, Santa Fe, NM; to current owner.

W 667. An

$300/500 Provenance: With Daniel McLister, c. 1970s; to Ethnographicos Amazonas, Santa Fe, NM; to current owner. 668. A Group of Three Amazonian Shaman’s Baskets, Warao, Venezuela, each of lidded rectangular form, largest height 11 in., width 20 in., depth 13 in. $1000/1500 Provenance: With Daniel McLister, c. 1970s; to Ethnographicos Amazonas, Santa Fe, NM; to current owner.

668

W 671. A Collection of Amazonian

Carved Wood Paddles and Clubs, Shipibo, Peru, including two paddles with geometric designs, length 57 1/2 in. and 58 in.; and two clubs with basketry wrapped handles, length 28 3/4 in. and 30 1/2 in. (4 pcs.) $300/500 W 672. Two Amazonian Gourd

Shaman’s Rattles, Shipibo, Peru, the larger of pierced form with incised and pyro-engraved decoration, wood handle, height 19 1/2 in.; the smaller engraved with stylized zoomorphic designs, wood handle, height 13 1/2 in. $800/1200

146

W 674. An Amazonian Cotton Tunic,

Shipibo, Peru, square form with neck and arm openings, overall geometric design, height 44 in., width 43 in. $600/800 Provenance: With David West, Gallery West, Tucson, AZ; to current owner. W 675. A Group of Amazonian

$300/500

Provenance: With Daniel McLister, c. 1970s; to Ethnographicos Amazonas, Santa Fe, NM; to current owner.

Amazonian Gourd Shaman’s Rattle, Makaritari, Venezuela, spherical gourd with geometric patterns, reticulated carved wood handle with opposing monkey figures, height 13 1/2 in.

$150/250

Shaman “Ledger Book” and Loose Leaf Drawings, 1970s, Shipibo, Peru, including 3 in book form: the first by author/artist Mrs. Magdalena KajarijoelanAbimi, age sixty years, red saddle stitch “Vaco Tekebboek”, complete with 12 ink sketches, typed sheet with titles, 12 1/2 in. x 9 1/2 in.; the second by author/artist Mrs. Delfride Aloena-Irkoejamo, age fifty years, green saddle stitch “Vaco Tekebboek”, complete with 12 ink sketches, typed sheet with titles, 12 1/2 in. x 9 1/2 in.; the third unidentified, white spiral bound “Bienfang Sketch Diary”, complete with 7 pages of ink sketches, variously inscribed index cards within, 14 in. x 11 in.; and seven loose sheet marker sketches, by artist Guillermina Santa Clara, age forty-six years, Lake Yarinacocha, variously inscribed en verso with artist’s name, title, region, a summer of 1977 date, and/or the collector’s name, each 14 1/4 in. x 9 3/4 in. (10 pcs.) $1000/1500 Provenance: Collected by Daniel McLister, late 1970s. Note: A graduate of Union College in 1965, Daniel McLister was a poet, a playwrite and an adventurer. In the mid-1970s he began amassing an impressive collection of ethnographic art from South America. McLister lived among the indigenous peoples of the region and came to love their culture, art and simple, but expressive, way of life.

676. A Group of Seven Oceanic Green Stone Bride Currency Celts, West Papua, New Guinea, each of tapering oval form in the shape of a ceremonial hand axe, height 4 1/4 in. to 7 3/4 in., custom metal mounts, overall height 4 3/4 in. to 8 in.

676

$800/1200 Provenance: With James M. Barker, Santa Fe, NM; to current owner. W 677. Two Oceanic Shell Ornaments, Papua New Guinea,

each kina shell hung on fiber cord in necklace form, shell height 6 1/2 in. and 7 in., each mounted to matching fabric wrapped frames, overall height 19 1/4 in., width 10 3/4 in. and 13 1/4 in. $400/600 Provenance: With Taylor A. Dale, TAD Tribal Art, Santa Fe, NM; to current owner. 678

678. An Oceanic Cotton, Shell and Tusk Charm, Maprik, East Sepik Province, Papua New Guinea, woven in standing figural form, with tusk horns and central section, shell and pigment highlights throughout, height 12 1/8 in.

W 680. An Indonesian Barkcloth

$500/750 Provenance: With Kevin Conru, Brussels, Belgium; to William Siegal Galleries, Santa Fe, NM; to current owner.

679 (1 of 2)

Headcloth, Toraja, Sulawesi, diamond form with central floral register, banded by a frame of stylized flower heads and geometric patterns, height 47 in., width 44 3/4 in., mounted to a fabric wrapped frame, overall height 48 1/4 in., width 45 1/2 in. $300/500 Provenance: With Taylor A. Dale, TAD Tribal Art, Santa Fe, NM; to current owner. W 681. An Indonesian Cotton

Textile, Sumba, rectangular form with overall black and blue design and resist-dyed circular highlights, mounted to a fabric wrapped frame, overall height 43 in., width 69 1/4 in. $400/600 Provenance: With James M. Barker, Santa Fe, NM; to current owner.

682

679. Two Oceanic Bride Prices, the first, Dani, West Papau, New Guinea, je stone of flat tapering oval form, bound with braided bark fiber, height 22 in., width 5 in., custom metal mount, overall height 23 1/2 in.; the second, Wewak, Papua New Guinea, Yua clamshell of pierced disk form with incised edge and woven rope loop, height 9 1/2 in., width 7 1/2 in. $300/500

682. An Indonesian Ceremonial Mat, Borneo, rectangular form woven with overall geometric design and a pronounced band of spirit figures at the top, height 40 in., width 73 in., mounted to a fabric wrapped frame, overall height 41 1/2 in., width 76 in. $300/500

Provenance: With Taylor A. Dale, TAD Tribal Art, Santa Fe, NM; to current owner. W denotes the lot is illustrated at www.nealauction.com

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686. A Burmese Carved Wood Memorial Post, Chin, reticulated columnar form carved in tiers with an elephant, humans, and humans astride horses, height 72 3/4 in., mounted to a double tiered plinth, overall height 78 3/4 in. $800/1200 Provenance: With James M. Barker, Santa Fe, MN; to current owner.

689

Southeast Asian Carved Wood Spear Stand and Eight Spears, polychrome painted stand pierced along the top with five spear holes, height 19 1/2 in., width 35 in., depth 18 in., fitted with 8 spears, with iron blades variously bound with rattan and copper, 7 with wood shafts, 1 with iron, length 58 in. to 85 1/2 in.

683

683. A Monumental Indonesian Carved Wood Architectural Element, Batak, Sumatra, tapering rectangular form carved as a massive head with exaggerated features, a split crown, and a long beard, remnant red and black pigment, the back hollowed for architectural mounting, height 40 in.

$800/1200 Provenance: With James M. Barker, Santa Fe, NM; to current owner. W 688. Two African “Rorke’s Drift” Hide Shields with

Spears and Clubs, Zulu, South Africa, each hide shield of lenticular form, height 29 1/2 in. and 47 in., custom mounted with a spear and staff and a spear and club respectively, spear length 46 in. and 45 in., staff and club length 35 in. and 33 in., together with a modern map of Isandhlwana and Rorke’s Drift Area, framed, 21 3/4 in. x 39 in., and 2nd Battalion “24th Regiment” Roll of “B” Company, framed 21 1/4 in. x 13 1/4 in., (8 pcs.)

$1200/1800 Provenance: With James M. Barker, Santa Fe, NM; to current owner.

686

W 684. An Indonesian Silk Ikat

Kepala, Palembang, Sumatra, rectangular head cloth with a central ikat field woven in shades of burgundy, purple, blue and brown, wide geometric border picked out in gold-wrapped threads, height 34 1/2 in., width 34 1/2 in., mounted to a fabric wrapped frame. $200/300 Provenance: With James M. Barker, Santa Fe, NM; to current owner.

W 687. A

W 685. A Northeast

Indian Cowrie Shell Embellished Cotton Textile, Naga, rectangular form with grey and red stripes, embellished with cowrie shells in anthro pomorphic and circle designs, height 41 in., width 64 in., mounted to a fabric wrapped frame, overall height 52 in., width 66 1/2 in. $300/500 Provenance: With James Barker, Santa Fe, NM; to current owner.

$600/800 Provenance: Reputedly collected at the Battle of Rorke’s Drift, 1879, by Private Jones, of the South Wales Borderer’s 24th Regiment; to Whyte’s Auctioneers, Dublin, February 26, 1999, lot 963; to current owner. 689. An African Carved Wood and Elephant Hide Ceremonial Drum, c. 1900, Tonga, Zambia, cylindrical body carved around the sides with geometric patterns, covered on the top with hide tied to regular protrusions, raised on a wood post, red, black and white pigment throughout, circular metal base, height 43 3/4 in., together with two carved wood beaters, length 19 in. and 20 in., (3 pcs.) $1000/1500 Provenance: With Taylor A. Dale, TAD Tribal Art, Santa Fe, NM; to current owner. W 690. An African Hide Shield, Singida Region, Tanzania, shaped

circular form, overall geometric designs emanating from the central raised section, red, black and white pigment, height 23 1/8 in., width 25 1/8 in. $600/800 Provenance: With Taylor A. Dale, TAD Tribal Art, Santa Fe, NM; to current owner.

148

W 691. An African Carved Ambatch Wood

Shield, Kerewe/Kara/Ziinza, Lake Victoria, Tanzania, curving, elongated oval form, carved with geometric patterns overall, red, black and white pigment, length 41 1/4 in. $800/1200 Provenance: With an English Collector, c. 1980; to Taylor A. Dale, TAD Tribal Art, Santa Fe, NM; to current owner. 692. Two African Hide Shields, Masai, Kenya, each of lenticular form similarly decorated in white, red and black pigment, height 40 1/4 in. and 41 in., hung on custom metal hanging mounts with two wood spears, (6 pcs.) $1000/2000 Provenance: The shields with Russell B. Aitken (19102002); to Christie’s, NY, The Russell B. Aitken Collection of African and Oceanic Art, April 3, 2003, lot 121; to current owner. 693. An African Hide Shield, Masai, oval form with S-scroll and geometric patterns, red and yellow pigment, height 44 in., width 19 1/2 in. 692 (1 of 2)

$1000/2000

693

Provenance: With James Willis Tribal Art, San Francisco, CA; to current owner. W 694. An African Fiber, Cloth and Hide

Headdress, Masai, modeled in the form of a hairpiece with twisted fiber bound at the ends with reddish brown cloth, sewn vertically along the part with a colorful bead-mounted hide band, approximate length 19 1/2 in., custom metal stand, overall height 16 3/4 in. $800/1200 Provenance: With Russell B. Aitken (1910-2002); to Christie’s, NY, The Russel B. Aitken Collection of African and Oceanic Art, April 10, 2003, lot 114; to current owner. W 695. An African Lion’s Hair Headdress

with Bead Embellished Coiled Metal Ear Ornaments, Masai, Kenya, headdress of tapering rounded form, height 11 1/4 in.; custom metal stand hung on the sides with two bead embellished coiled metal ear ornaments, overall height 23 in. $300/500 Provenance: With Russell B. Aitken (1910-2002); to Christie’s, NY, The Russell B. Aitken Collection of African and Oceanic Art, April 3, 2003, part of lots 109 and 113; to current owner. 696. An African Hide Shield, Masai, Kenya, elliptical body with geometric designs, red, yellow, black and white pigment, height 49 1/2 in., width 33 1/2 in., metal hanging mounts. $800/1200 Provenance: With Taylor A. Dale, TAD Tribal Art, Santa Fe, NM; to current owner.

696 698 W 697. An African Carved Wood Mask,

Ngbaka or Mbanja, Democratic Republic of the Congo, rounded rectangular form with two part recessed facial plane, white and blue pigment, height 13 1/2 in., width 7 1/2 in. $500/1000 Provenance: With Taylor A. Dale, TAD Tribal Art, Santa Fe, NM; to current owner.

698. An African Basketry Shield, Ngbandi, Democratic Republic of the Congo, oval form with raised central section, crown and chevron geometric patterns, height 48 1/2 in., width 19 in. $1000/1500 Provenance: With Joel Cooner Gallery, Dallas, TX; to current owner.

W denotes the lot is illustrated at www.nealauction.com

149

703. An African Carved Wood Dance Shield, Tutsi, Rwanda, oval form with central pyramidal boss carved with geometric designs, red, black and white pigment, height 33 1/2 in., width 12 in., custom metal stand, overall height 38 1/2 in. $1500/2500 Provenance: With Andres Moraga, Berkley, CA; to current owner. W 704. An African Carved

Wood Shield, Tutsi, Rwanda, elliptical form with central pyramidal boss, red, black and white pigment, height 23 in., custom metal stand, overall height 26 in. Note: loss to base. $700/1000

699

703

705

705. A Pair of African Carved Wood Male and Female Cult House Posts, c. 1950s, Mitsogo, Gabon, each of columnar form carved around the mid-section with a male or female figure between a geometrically carved support and crown, red, yellow, black and white pigment, male height 64 in., female height 65 in.

699. An African Basketry Shield, Zande, Democratic Republic of the Congo, oval form with raised central section, abstract anthro pomorphic motifs, height 40 3/4 in., width 18 in. $1000/1500

$2000/3000

Provenance: With Joel Cooner Gallery, Dallas, TX; to current owner.

Provenance: With Thomas D. Slater, Indianapolis, IN; to Stuart Struever, Santa Fe, NM; to Taylor A. Dale, TAD Tribal Art, Santa Fe, NM; to current owner.

W 700. An African Basketry

Note: The Mitsogo have preserved their traditions more fully than any other people in present day Gabon. Most notable of these traditions is the Bwiti, a spiritual discipline connected with commemoration, divination, and initiation.

Shield, Bandia, Democratic Republic of the Congo, tapered oval form with central metal boss, geometric patterns, height 36 1/4 in., width 14 in. $800/1200 Provenance: With Joseph Maurer Art and Artifacts, Inc., Minneapolis, MN; to current owner.

706

W 702. Four African Carved Wood

Shield with a Bow and Two Arrows, Mongo, Democratic Republic of the Congo, the shield of elongated oval form carved with a central gulley, overall geometric design, blue, red and white pigment, length 58 in., width 8 1/2 in., custom mounted together with a wood bow, length 60 1/2 in., and two arrows, length 42 1/2 in., (4 pcs.)

Bows and a Quiver with Arrows, Tutsi, Rwanda, including two strung bows with pyro-engraved designs, length 60 1/4 in. and 65 in., acrylic stand, overall height 6 1/2 in.; two ceremonial bows, length 34 1/4 in. and 58 1/2 in.; and a cylindrical lidded quiver with pyro-engraved checkerboard pattern containing 3 arrows within, height 35 in., diameter 3 3/4 in., custom metal stand, overall height 36 in., (8 pcs.)

$800/1200

Provenance: With Taylor A. Dale, TAD Tribal Art, Santa Fe, NM; to current owner.

Provenance: With Andres Moraga, Berkeley, CA; to current owner.

W 701. An African Carved Wood

150

Provenance: With Jonathan Mankowitz, c. 1985; to Taylor A. Dale, TAD Tribal Art, Santa Fe, NM; to current owner.

The cult house shrine, or ebandza, located at the village center, is the focus of many Bwiti rites. Within the ebandza the right part is male, and the left, female; thus carved wood posts, like the painted, male and female matched pair here, were symbolically placed into the shrine, with the male at the right and the female at the left. The male column represents the first ancestor in human form, called Nzambe-Kana, while the female column represents the firstwoman, mother of humanity, Disumba. 706. An African Carved Wood “Four Face” Dance Mask, Fang, Gabon, hollowed helmet form, carved to the sides with four faces, pierced lower portion with raffia, black and white pigment, height 12 in. $1500/2500 Provenance: Sotheby’s, Paris, December 3, 2004, lot 132; to current owner.

707. An African Carved Wood Makudj Mask, Punu, Gabon, naturalistic human head form, with striated combpatterned coiffure and facial scarifications to cheeks and forehead, height 13 in. $1500/2500 Provenance: Christie’s, France, December 10, 2003, lot 200; to current owner. 708. An African Basketry Kor Shield, Mambila, Cameroon, dual axe-head form, geometric patterns indicative of battle units, height 50 in., width 40 3/4 in., with custom metal wall mount, overall depth 13 in.

707

$1500/2500

708

Provenance: With Joel Cooner Gallery, Dallas, TX; to current owner. W 709. An African Carved Wood

Ceremonial Paddle, Doula, Cameroon, elongated blade with geometric designs in red, black and white pigment, height 65 3/4 in., width 9 in. $400/600 Provenance: With Taylor A. Dale, TAD Tribal Art, Santa Fe, NM; to current owner. 710. A Collection of Four African Rattan Mounted Gourd Wine Vessels, Cameroon, each of hollowed naturalistic form variously mounted with rattan, height 9 in. to 21 in.

710

$600/800 Provenance: Joel Cooner Gallery, Dallas, TX; to current owner. 711. An African Basketry Shield, Soga, Uganda, lozenge form with central section with a carved wood pyramidal boss, height 37 in., width 15 1/2 in.

711

$1000/1500 Provenance: With Joel Cooner Gallery, Dallas, TX, to current owner.

713

W 712. An African Carved Wood and Basketry Shield,

Uganda, curved rectangular form with a large central boss surrounded by vertical rattan banding, height 22 5/8 in., width 18 5/8 in. $500/700 Provenance: With Taylor A. Dale, TAD Tribal Art, Santa Fe, NM; to current owner.

713. An African Appliqué and Embroidered Cotton Asafo Flag, Fante, Ghana, rectangular form with the Union Jack and mythical animals, height 41 in., width 63 1/2 in.; mounted to a fabric wrapped frame, overall height 44 1/4 in., width 67 1/4 in. $1000/2000 Provenance: With James Willis Tribal Art, San Francisco, CA; to current owner.

W denotes the lot is illustrated at www.nealauction.com

151

W 714. A Pair of African

W 718A. A Fine Group of

Carved Wood Quivers with Arrows, Fra Fra, Northwest Ghana, cylindrical bamboo form quivers with alternating bands of red trade cloth and wickerwork, each with old label, one dated “1929”, set with approximately 60 arrows, quiver height 19 1/4 in. and 20 in., custom metal stands.

African Beaded Items, comprising four dance aprons, height 6 1/2 in., width 10 in., to height 10 in., width 30 in., and a wrist cuff, height 2 in., width 2 in.

$800/1200

African Weapons, including two Fang iron knives with wire banding in sheaths; a Kiba ikul with copper blade; a Salampasu sword with scabbard; three Tuareg knives with leather and reptile skin sheaths; and two iron blades in sheaths; lengths from 13 in. to 24 3/4 in.

$200/300 W 719. A Collection of Nine

Provenance: With Andreas Moraga, Berkeley, CA; to current owner. 715. A Fine African Cotton Textile, c. 1942, Mende, Sierra Leone, rectangular form comprised of ten horizontal strips, overall checkered design with alternating indigo-dyed and natural rectangles, height 54 in., width 84 in.; mounted to a fabric wrapped frame, overall height 58 7/8 in., width 88 1/2 in. $1200/1800 Provenance: With Esther Warner Dendel, acquired from an itinerant trader at the Firestone Rubber Plantation, Harbel, Liberia, 1942; to Sotheby’s, NY, May 14, 2004, lot 43; to current owner. Note: The May 2004 Sotheby’s note for this lot quotes the writings of Esther Dendel as follows: “The [trader] who brought [the strip cloth] said the weaver was a Mende tribesman....In 1941 there were roads in Guinea that connected settlements within walking distance of the Liberian border with towns farther east and north. Commerce was carried on by wood-burning trucks and continued during World War II in spite of the scarcity of gasoline. Cloths as well as salt... were brought ‘down country’ on men’s heads once they reached Liberia, which was not yet traversed by roads”. See Sotheby’s, sale N07996, lot 43.

715

$1000/1500 Provenance: Some with Russell B. Aitken (1910-2002); to Christie’s, NY, The Russel B. Aitken Collection of African and Oceanic Art, April 3, 2003, lot 116; and others with Christie’s, New York, June 7, 2005, lot 225. W 720. An African Bead Crown,

Yoruba, Nigeria, drum form body applied overall with colorful glass beads, sides with raised faces with alternating yellow and black grounds, height 4 1/4 in., diameter 7 1/2 in.; custom metal stand, overall height 8 5/8 in. $600/800 Provenance: With James Willis Tribal Art, San Francisco, CA; to current owner.

721. An African Adire Eleko Cotton Textile, 1941, Yoruba, Nigeria, two rectangular, resist-dyed 721 indigo cloth panels sewn together at the center, cassava-paste painted in the olokun pattern with numerous squares illustrating “good and celebrated things in life”, height 78 in., width 59 3/4 in., set with W 716. An African Carved Wood Neckrest, Dinka, Sudan, pole for hanging. elongated crescent form shelf with inverted animal masks ends raised on tripod legs, height 9 1/2 in., width 18 1/4 in. $1500/2500 $400/600 Provenance: With Joel Cooner Gallery, Dallas, TX; to current owner.

Provenance: With Esther Warner Dendel, collected in Lagos, Nigeria, 1941; to Sotheby’s, NY, May 14, 2004, lot 42; to current owner.

W 717. An African Hide Ceremonial Shield, Didinga, Sudan,

Illustrated: Sieber, African Textiles and Decorative Arts, 1972: 225, catalogue for the exhibition at the Museum of Modern Art, New York, October 11, 1972 January 31, 1973.

rectangular form with leather lashings, wood handle and feather plume, height 23 1/2 in., custom metal stand, overall height 26 in. $800/1200 Provenance: With Joel Cooner Gallery, Dallas, TX; to current owner. W 718. An African Carved Wood Figural House Post, Dogon,

Mali, thick Y-form slab relief carved with two breast-like bosses, height 77 in., width 28 3/8 in. $400/600

152

Note: The May 2004 Sotheby’s note for this lot quotes the writings of Esther Dendel as follows: “In 1941, after zig-zagging across the Atlantic on a black-out ship, The Arcadia put in at Lagos, Nigeria. Most of the passengers, including myself, were bound for Liberia where we would live on the Firestone rubber plantation. Once ashore in Lagos, I was able to hire a bicycle and went exploring in the town in the hope of happening on a market selling fabrics. Without direction, I luckily blundered into a dye courtyard where half a dozen women were busily dipping cloth in and then quickly out of smelly vats. Several lengths of blue cloth were dripping and drying from crossed clotheslines stretched across the area. I watched from the street until one of the women gestured me in. I thought I had reached paradise as I saw my first demonstration of dyeing adire eleko...” See Sotheby’s, sale NO7996, lot 42.

722. Two African Terracotta Figures, Nok, Nigeria, the first modeled as a bearded male with hands resting on his torso, height 4 3/4 in., metal stand, overall height 5 3/4 in.; the second bearded male figure modeled seated on his knees, height 4 1/4 in., metal stand, overall height 5 in.

W 724. A Group Six Pre-

Columbian Carved Stone Ornaments, Mixtec, each of full figural form, height 1 in. to 2 1/4 in. $100/200 Provenance: Collected by Ralph Fabacher and Higford Griffiths; to Alice Hogg Hanszen; to the Museum of Fine Arts, Houston, 1965; sold Neal Auction Company, March 27, 2010, lot 624; to current owner.

$1000/1500 Provenance: With James Willis Tribal Art, San Francisco, CA; to current owner. 723. A Rare and Important African Terracotta Portrait Head, 12th to 16th c., Ife, Nigeria, naturalistically modeled with conical headdress and facial “scarification” striations, height 8 1/4 in., plinth mount, overall height 11 in.; accompanied by an ASA report and Texas A&M X-rays.

Exhibited: “Pre-Columbian Art from Middle America”, Museum of Fine Arts, Houston, February 35, 1966 August 1, 1966.

722

$30000/50000 Provenance: With private collector, Brussels, Belgium; to James Willis Tribal Art, San Francisco, CA; to current owner.

W 725. A Group of Seven

Pre-Columbian Carved Stone Figurines and Ornaments, Mixtec, including two carved figures; four figural ornaments; and one skull-form ornament, height 1 in. to 2 1/4 in. $300/500

Note: The ASA Francine Maurer (Authentification et Datation d’Objets d’Art et d’Archéologie par Méthodes Scientifiques) Certificate, Ref.# 27.36.26, TL# 304.142, dated April 22, 2003, is consistent with the dating of this lot.

Provenance: Collected by Ralph Fabacher and Higford Griffiths; to Alice Hogg Hanszen; to the Museum of Fine Arts, Houston, 1965; sold Neal Auction Company, March 27, 2010, lot 623; to current owner.

Note: Between the 12th and 14th centuries, the royal city of Ife, located in present-day Nigeria, was a center of economic, religious and political power, and its importance was reflected in a highly developed and distinctive sculptural style.

Exhibited: “Pre-Columbian Art from Middle America”, Museum of Fine Arts, Houston, February 24, 1966 August 1, 1966. W 726. A Group of Three

In Dynasty and Divinity: Ife Art in Ancient Nigeria, the authors Henry John Drewal and Enid Schildkraut describe the artists at Ife as having “created sculpture that ranks among the most aesthetically striking and technically sophisticated in the world.” Alice Apley in her article, “Ife Terracottas (1000–1400 A.D.),” for the Metropolitan Museum’s Heilbrunn Timeline of Art History writes: “The art-historical importance of Ife works lies in their highly developed and distinctive sculptural style, described alternately as naturalistic, portrait like, and humanistic.” The sensitive realism of Ife terracotta portraiture is considered unusual among African art styles which typically present abstracted and generalized representations of the human image.

Pre-Columbian Hardstone Objects, Teotihuacan and Sinú, including a standing figure, height 5 1/4 in., width 2 in.; and two gold working implements, height 3 in. and 1 3/4 in. $800/1200 Provenance: The figure with David Walley, Pontotoc, MS; to current owner. W 727. Three Pre-

Columbian Pottery Objects, the first, a relief molded square form fragment, height 3 1/2 in., width 4 1/4 in.; the second, an animal figure, height 1 1/4 in.; the third, a figural fragment, height 1 3/4 in.

The Ife portrait head offered here is realistically and sensitively rendered; it demonstrates the artist’s skillful use of balance and proportion and captures the serene spirit of the model.

$100/150 723

W denotes the lot is illustrated at www.nealauction.com

153

W 732. Two Pre-

Columbian Head-Form Pottery Whistles, Veracruz, one with a twisted and ornamented headpiece and distinct facial features with black chapopote highlights, the other with an exaggerated outwardly extended chin, height 2 3/4 in. and 4 1/4 in. respectively. $300/500 731

728

W 733. A Collection of

728. A Pre-Columbian Alpaca Wool “Checkerboard” Military Tunic, Inca, rectangular form with central opening at top for head and at sides for arms, the front and back with black and white “checkerboard” pattern beneath a wine red, wide neckline, modern cotton lining, height 33 1/8 in., width 28 1/4 in.

Four Pre-Columbian Objects, including two bone implements, one carved with a bird-head finial, length 7 1/2 in.; a wood snuff tray, length 5 1/2 in.; and a threadwrapped reed pan flute, length 6 1/8 in., (4 pcs.)

$2500/5000 Provenance: With Steve Berger, Arte Textil, San Francisco, CA; to current owner, 2002.

735

W 729. Two Pre-Columbian Bronze Mace Heads, Inca,

the first of star form with central aperture, diameter 4 1/8 in., raised on a string-wrapped wood handle, overall length 24 3/4 in.; the second of triangular form with leather strap, width 6 in., raised on a wood handle, overall length 19 1/8 in. $600/800 Provenance: With Stever Berger, Arte Textil, San Francisco, CA; to current owner, 2003. W 730. Two Pre-Columbian Animal Form Pottery

Whistles, Veracruz, the first in turtle form with incised decoration to the outer shell, the second in the form of a crouching frog, height 2 in., length 3 1/2 in. and height 1 3/4 in., length 3 1/4 in. respectively. $300/500 Provenance: Collected by Ralph Fabacher and Higford Griffiths; to Alice Hogg Hanszen; to the Museum of Fine Arts, Houston, 1965; sold Neal Auction Company, March 27, 2010, lot 618; to current owner. Exhibited: “Pre-Columbian Art from Middle America”, Museum of Fine Arts, Houston, February 24, 1966 - August 1, 1966.

154

Provenance: Collected by Ralph Fabacher and Higford Griffiths; to Alice Hogg Hanszen; to the Museum of Fine Arts, Houston, 1965; sold Neal Auction Company, March 27, 2010, lot 621; to current owner.

$400/600 W 734. A Pre-Columbian

731. A Pre-Columbian Pottery Figure of a Warrior, Veracruz, standing figure modeled wearing crab-claw gloves, a tall headdress, a long waisted loin cloth and a large yoke-form collar, height 6 1/2 in.

Pottery Bird Whistle, globular body modeled with a bird’s head at each tapering end, incised geometric band, height 2 1/2 in., length 3 3/4 in.

$600/800

$200/300

Provenance: Collected by Ralph Fabacher and Higford Griffiths; to Alice Hogg Hanszen; to the Museum of Fine Arts, Houston, 1965; sold Neal Auction Company, March 27, 2010, lot 620; to current owner. Exhibited: “Pre-Columbian Art from Middle America”, Museum of Fine Arts, Houston, February 24, 1966 - August 1, 1966; illustrated as no. 187 in the exhibition catalogue.

735. A Pre-Columbian Pottery Capuli Coquero Figure, coca-leaf chewing male figure modeled seated on open platform with hands on thighs, height 7 1/4 in., width 3 5/8 in., depth 5 1/4 in. $600/800

736

737

736. An Antique Indo-African Brass-Mounted Hardwood “Treasure” Chest, Zanzibar, rectangular trunk form over three frieze drawers, hinged lid opening to fitted interior, exterior embellished with pierced brass panels and brass studs, height 16 in., width 37 3/4 in., depth 16 7/8 in., later wood stand, overall height 28 1/4 in. $1000/1500 Provenance: With Commander David Enderby Blunt, explorer, author and elephant control officer in Tanganyika; to Russell B. Aitken (1910-2002); to Christie’s, New York, The Russell B. Aitken Collection of African and Oceanic Art, April 3, 2003, lot 128; to current owner.

739

737. A Monumental Manuscript Map of Colonial Louisiana, c. 1920, hand-painted on wood, after the seminal 1718 map by Delisle “Carte de la Louisiane et du Cours du Mississipi”, sight 43 in. x 55 in., framed.

738

739. Clementine Hunter (American/Louisiana, 1886-1988), “Wash Day”, oil on canvas board, monogrammed middle right, Shreve Frame & Clock Gallery, Shreveport label en verso, 11 in. x 14 in., framed.

$1500/2500 738. A Louisiana Green Glass Seal Bottle, with original label printed “Natichitoches, Gegrundel, 1811, de la Manufacture de Tabac de Joseph Doms a Ratibor”, intact original label depicting sailing ship with city scene in background, height 9 1/2 in., diameter 3 1/2 in. $800/1200

$1500/2500

740

Provenance: Acquired from the artist in Natchitoches, LA during the mid to late 1970s by the mother of the current owner.

740. Clementine Hunter (American/Louisiana, 1888-1986), “Courtroom Scene”, 1971, oil on board, monogrammed and dated lower right, 16 in. x 24 in. $3000/5000 Provenance: Commissioned from the artist by Leo Gold for his law office; Estate of Leo Gold, Alexandria, Louisiana. W denotes the lot is illustrated at www.nealauction.com

155

741

745

744. William R. Hollingsworth (American/ Mississippi, 1910-1944), “Mississippi Landscape with Train Tracks and Telephone Poles” and “Mississippi Town with Shotgun Houses”, 1944, double-sided watercolor on paper, each initialed and dated lower right, 22 in. x 14 in. $1500/2500 Provenance: Acquired by a Virginia collector while visiting relatives in Jackson, MS, c. 1944; thence by descent. Note: Hollingsworth is best known for his watercolors of the countryside near Jackson and for his depictions of African Americans in their environs. The double-sided work offered here has a view from each of these favored themes, with one side showing a vast landscape with power lines and a train track, and the other side an African American man within a group of shotgun houses.

744

In 1937 Hollingsworth won the William Tuthill Prize at an international watercolor show at the Art Institute of Chicago. Unfortunately, his artistic output was limited to a mere ten years, as the artist took his life in the summer of 1944, the year the watercolors offered here were painted.

741. Elemore Madison Morgan, Jr. (American/ Louisiana, 1931-2008), “Landscape”, acrylic on wood panel, initialed lower right, 10 in. x 20 in., framed.

745. Arnold Turtle (American/ Louisiana, 1892-1954), “Harbor”, oil on canvas laid on board, signed lower left, 16 in. x 20 in., framed.

$2500/3500

$800/1200

Provenance: A Lafayette, Louisiana Collection.

W 746. Luis Graner y Arrufi

(Spanish/New Orleans, 18631929), “Village”, gouache on paper, signed lower right, 8 1/2 in. x 11 3/4 in., framed.

W 742.

Caribbean School, 20th c., a group of four watercolors and mixed media on paper depicting carnival scenes, one illegibly signed and dated “1989”, each sight 11 1/2 in. x 8 1/2 in., each matted, (4 pcs). $200/400

$150/250 747

W 743. Florida School, mid 20th c.,

“Egrets Feeding along the Shore” and “Palm Trees on the Shore”, two oils on canvas board, both signed “Addison” lower right, 6 in. x 9 in., framed alike, (2 pcs). $300/500

156

747. Alexander John Drysdale (American/Louisiana, 18701934), “Sunrise in Fog, The Low Lands of Louisiana”, 1933, oil wash on board, pencil-signed and dated lower right, Wunderly Brothers, Pittsburgh label with title en verso, sight 14 1/2 in. x 19 1/2 in., period frame. $2000/3000

752

753 (2 of 4)

754

W 748. Charles Henry Reinike (American/New Orleans,

1906-1983), “Shrimp Boats”, watercolor, signed lower right, sight 6 5/8 in. x 9 1/2 in., framed. $400/600 W 749. Nestor Hippoyle Frugé (American/New Orleans, b.

1916), “Pirate’s Alley” and “Vieux Carré Courtyard”, two watercolors, signed lower right and lower center respectively, Allee Art Gallery, Bethpage, New York stamps en verso, sight 11 in. x 8 1/4 in., framed alike, (2 pcs).

755

752. Harry Leslie Hoffman (American, 1871-1964), “Grand Cayman Island”, oil on canvas, signed lower right, titled en verso on stretcher, 14 in. x 20 in., framed. $800/1200

$300/500 W 750. Don Wright (American/Louisiana, 1938-2007),

“Cabin in the Louisiana Bayou”, 1986, oil on canvas, signed and dated lower right, 14 in. x 18 in., framed; accompanied by an article from The Journal entitled “Artist Don Wright: A Legend in Our Time”. $500/700 W 751. American Folk Art School, late 19th/early 20th c.,

“Going Fishing”, watercolor on paper affixed to board, unsigned, 10 in. x 8 in., in a period frame. $400/600

753. Allison Stewart (American/New Orleans, b. 1941), “Origami”, 1983, acrylic on canvas, four panels, one signed, titled and dated en verso, each panel 65 3/4 in. x 29 3/4 in. $1200/1800 754. Allison Stewart (American/New Orleans, b. 1941), “Abstract”, acrylic on canvas, 48 in. x 60 in. $1500/2500 755. Allison Stewart (American/New Orleans, b. 1941), “Abstract”, acrylic on canvas, 36 in. x 60 in. $700/1000 W denotes the lot is illustrated at www.nealauction.com

157

756

756. Rayford Shaw (American/ New Orleans, b. 1938), “Thalassa”, oil and mixed media on canvas, 49 3/4 in. x 107 in.

760 (1 of 4)

760. Barry Bailey (American/New Orleans, b. 1952), “New Orleans Palm Series”, 1983, four pastels and charcoals on paper, each signed and dated lower right and titled lower left, sheet 23 3/4 in. x 18 in. each, framed alike.

$1500/2500 757. Paulette Tokar Whiteman (American/Louisiana, b. 1950), “Patchwork Inroads Series No. 2”, 1983, acrylic and collage on canvas, signed, titled and dated en verso, 46 in. x 42 in., framed.

$500/800 W 761. Harry Soviak (American/Ohio,

1935-1984), “Still Lifes of Greek Urns with Amaryllis”, 1980, pair of watercolors on Arches paper, each pencil-signed and dated lower right, sheet 30 in. x 22 1/4 in. each, framed.

$1000/2000

$700/900

W 758. Emery Clark

(American/Louisiana, b. 1950), “Light Effects”, 1983, pair of silkscreen prints, pencilsigned, titled and dated, numbered 150/260 and 68/260, 27 1/2 in. x 21 1/2 in., framed.

757

W 762. Harry Soviak (American/Ohio,

1935-1984), “The Pink Nude”, polychromed metal sculpture, 41 in. x 29 in. x 11 in. $800/1200

$700/900

763. Wellington “Duke” Reiter (American, b. 1957), “Flying Fish Series #1”, 1983, mixed media on paper, signed and dated lower right, titled lower left, sight 38 in. x 57 in., framed.

W 759. Jesse

Poimboeuf (American/Louisiana, b. 1948), “Under the Influence”, mixed media on paper, sight 33 1/2 in. x 23 in., framed.

$800/1200 W 764. Wellington “Duke”

$600/800

763

Reiter (American, b. 1957), “Flying Fish Series #2”, 1983, mixed media on paper, signed and dated lower right, titled lower left, sight 38 in. x 57 1/4 in., framed. $800/1200

158

W 765. Wellington

“Duke” Reiter (American, b. 1957), “Flying Fish Series #3”, 1983, mixed media on paper, signed and dated lower right, titled lower left, sight 38 in. x 57 in., framed. $800/1200 766. Henry Stacy Marks (British, 18291898), “The Angler’s Rest”, 1884, oil on canvas laid on wood panel, signed and dated lower right, artist’s label affixed en verso, 38 1/2 in. x 29 1/2 in., framed. $2500/3500 Provenance: Sotheby’s, Belgravia, March 18, 1980, lot 204; Estate of James P. Raymond (1931-2011), New Orleans, LA. 766

Exhibited: Royal Academy, 1884, no. 292.

769

W 767. Arthur

Hogg (English, 20th c.), two colored mezzotints, after Thornton’s Temple of Flora, c. 1947, published by Thomas Ross & Son, sight 19 1/4 in. x 15 1/2 in., framed. $500/700 771

W 768. A

Polychrome Iron Plaque of George Washington, inscribed “from Houdon’s Bust By C. Calverley, Sc. 1877”, 20 3/4 in. x 16 3/4 in., suspended by chain. $200/400

770

770. A Georgian Sheffield Plate Hot Water Urn, early 19th c., body with reeded banding, acanthus mounted reeded handles, the cover with acorn finial, spout with pearwood finial, square base on ball feet, the vented bottom fitted with removable original alcohol lamp, height 17 in. $400/600

769. An American or English Carved Walnut Needlepoint Firescreen, mid-19th c., inset with a scene of Moses and his followers, height 51 3/4 in., width 24 in., depth 17 in. $500/700

771. An Antique English Silverplate Coffee and Tea Service, mid-19th c., Martin, Hall & Co., Sheffield, founded 1860; comprised of a coffee pot, teapot, covered pitcher, open sugar and creamer, rococo vase form, bird finials, scroll handles, repoussé decoration with armorial cartouches, reticulated feet, coffee pot height 10 1/4 in., pitcher height 11 3/4 in. $700/1000

W denotes the lot is illustrated at www.nealauction.com

159

777. A Gorham Sterling Coffee and Tea Service in the “Chantilly” Pattern, date mark for 1947; comprising coffee pot, teapot, creamer, sugar, waste bowl; together with an associated silverplate tray; coffee pot height 11 1/2 in., combined weight 88.55 troy ozs., tray 27 in. x 16 1/2 in.

777

$1500/2500 778. A Maryland Jockey Club Sterling Silver Racing Trophy, inscribed “The Maryland Jockey Club/ Pimlico Race Course/ The Lady Baltimore Handicap... 1944...”, hallmarked Birmingham, 1938, maker W & S untraced, the footed bowl with stylized scroll handles and reeded banding, height 9 in., width 13 1/8 in., weight 31.85 troy ozs.

772

772. An Alvin Sterling Silver Overlay Green Glass Vase, c. 1910, with an Art Nouveau floral design, height 12 in., diameter 5 in.

$800/1200

$600/900 778

W 773. A Group of Sterling

Silver Overlay Perfume Bottles, c. 1910, two cranberry glass with stoppers, one clear glass with stopper, heights from 5 in. to 7 5/8 in. including stoppers.

779. An Antique English Silverplate Epergne, James Dixon & Sons, Sheffield, 19th c., the base with eagles, swags and bellflowers, the bowl with etched floral decoration, height 12 in., diameter 12 in. $600/800

$500/700

W 780. A George III Crested Sterling Silver

W 774. An American

Soup Ladle, Richard Crossley, London, 1796, downturned Old English typt handle with molded drop and a circular bowl, engraved crest on upper face, weight 6.15 troy ozs.

Sterling Silver Water Pitcher, Manchester Silver Co., Providence, RI, wc. 19141985, squat bulbous form with scroll handle, height 9 1/2 in., weight 17.15 troy ozs.

$250/350 W 781. A Set of French Silverplate

Fiddlethread Flatware, marked “METAL/ ALLIAGES/BLANC”, and “40gr” in rectangle, upturned handles, including 10 forks and 10 spoons, length 8 1/2 in.

$250/350 W 775. A Set of Six

American Sterling Silver Demitasse Cup Frames and Saucers, Manchester Silver Co., Providence, RI, wc. 1914-1985, monogrammed “A de E”, retaining Lenox porcelain liners. $250/350

779

W 782. A German Art Nouveau .800 Silver W 776. A Set of Four Silverplate Table

Candlesticks, in the 1780s taste, weighted circular base, tapered stem, vase form candlecups with removable bobêches and reeded borders, height 10 1/4 in., base diameter 5 1/4 in. $200/300

160

$200/300

Ladle, marked “WILKENS” in rectangle, M. H. Wilkens & Sohne, Bremen-Hemelingen, slightly oval bowl, upper face of handle with engraved script initials, length 13 1/2 in., weight 7.95 troy ozs. $150/250

783. A Reed and Barton “Francis I” Pattern Sterling Silver Salad Serving Fork and Spoon, pat. 1907, retain gold wash bowl and tines, length 9 1/2 in., weight 9.20 troy ozs. $400/600 784

784. An Antique French Silver Two-Handled Coupe de Mariage, rubbed unidentified marks, crested center and loop handles, height 1 1/2 in., width 7 1/4 in., weight 6.80 troy ozs. $250/350 W 785. A Set of Ten French

Silverplate and Mother-of-Pearl Handled Knives, the blades marked “CHATELLERAULT” incuse, foliate mounts on ferrules and handle terminals, length 9 7/8 in. $150/250 Note: The Manufacture de Châtellerault was established in 1816 on the banks of the River Vienne. W 786. Two Antique English

Silverplate Poultry Domes, Atkin Brothers, Sheffield, wc. 18531964, graduated sizes, with beaded decoration, height 9 1/2 in., length 14 in., depth 11 1/4 in., and height 9 in., length 12 1/2 in., depth 9 3/4 in. $300/500 W 787. A Pair of Antique

English Silverplate Entree Dishes, James Dixon & Sons, Sheffield, 19th c., foliate scroll handle, scroll decoration, height 6 in., length 12 1/2 in., depth 10 1/2 in. $400/600 W 788. A Pair of Silverplate

Wine Coolers in the Regency Taste, campagna form with gadrooned borders, hallmarked, height 12 in. $200/300 789. A Good English Silverplate Venison Dome, Mappin Brothers, 322 Regent Street & London-Bridge, late 19th c., beaded handle, lotus engraving, height 12 in., length 19 1/4 in., depth 15 7/8 in. $400/600

783

790. A Pair of Old Sheffield Plate Candlesticks in the Adam Taste, c. 1800, each with bow knot and bellflower decorated tapering standard, stepped plinth, height 12 in.

789

$500/750 W 791. An Antique Sheffield

Plate Candelabrum, and associated candlestick, candelabrum height 17 1/2 in. $300/500 W 792. Two Pairs of Sheffield

Plate Wine Coasters, one pair with turned wood bottoms, diameters 5 in. $300/500 W 793. A Pair of Gorham

Silverplate Five-Light Candelabra, reeded twisting candlearms with floral and acanthus bobêches and bases, tapering trumpet form shaft on shaped square molded bases, height 18 1/2 in. $400/600 W 794. A Large Sheffield Plate

Cutlery Tray, marked “T T C” and trademark, probably Thomas, Turner & Co., late 19th c., rectangular with sloping sides and a gadrooned rim, height 2 3/4 in., length 12 in., depth 7 3/4 in. $150/250

790

W 795. A Gorham Sterling Silver Partial

Flatware Service, “St. Cloud” pattern, introduced c. 1885; including 6 teaspoons, 5 dessert spoons, 4 tablespoons, 4 dinner forks, 4 demitasse spoons, 1 sugar shell, 1 mustard spoon, 1 dessert fork, weight 35.87 troy ozs. (26 pcs.) $800/1200 W 796. An English Sterling Silver Stuffing

Spoon, John Walton, Newcastle, 1840-41, downturned fiddletypt handle with shoulders, and molded single drop, length 12 3/4 in., weight 4 troy ozs. $200/300

W denotes the lot is illustrated at www.nealauction.com

161

801

797 (1 of a pair)

798

798. A Louis XVI-Style Gilt Bronze SixLight Chandelier, feathered corona, the fluted bell issuing Greek-key candle arms, mounted with swags and acanthus, height 34 1/2 in., diameter 18 in. $1200/1800 799. A Pair of French Patinated and Gilt Bronze Three-Light Wall Sconces, 19th c., gilt bronze foliate backplate, serpentine candlearms, central gilt orb-form candle support with foliate scroll candlearms, gilt drip pans, tulip bud candlecups, height 6 3/4 in., width 13 in., depth 15 in.

799

$800/1200 800. An American Classical Carved Mahogany Sofa, early 19th c., Philadelphia, reeded crest with volute terminals, padded arms faced with shells, molded and gadrooned seat rail, gadrooned turned tapering feet, height 33 in., length 78 in., depth 24 in. $1200/1800

800

801. An American Late Classical Carved Mahogany Work Table, c. 1830, drop leaves, three bolectionmolded drawers, top drawer with writing board, second affixed with typed family history, baluster stem, scroll feet, casters, height 30 1/2 in., closed width 20 1/2 in., depth 20 in. $500/800

797. A Pair of American Gothic Gilt Brass Hanging Lanterns, c. 1860, hexagonal with etched glass panels, height 23 in., diameter 7 1/2 in. $800/1200 Provenance: The Estate of Lee B. Anderson, New York.

162

Provenance: Purchased in Boston in 1838 as a wedding gift for Lydia Gerrish and Samuel Wood of West Lebanon, NH.

802

803

802. An American Federal Carved and Inlaid Mahogany Chest of Drawers, early 19th c., four graduated drawers, “French” feet, height 35 in., width 38 1/2 in., depth 21 1/2 in. $800/1200 803. An Antique American Federal-Style Carved Mahogany Sofa, reeded uprights and legs, brass nailhead trim, height 36 in., width 73 in., depth 30 in. $1000/1500

804

806

805

804. An American Classical Carved Mahogany Pembroke Table, early 19th c., New York, shaped drop leaves, frieze drawer, turned pendants, ring-turned columnar uprights, incurvate plinth, paw feet, casters, height 29 3/4 in., width 48 1/2 in., depth 41 in.

805. A Set of Eight American Classical Carved Mahogany Side Chairs, early 19th c., incurvate shaped crest, tapered splat, rounded seat rail, slip seats, saber legs.

806. A George III Mahogany Inlaid Secretary Bookcase, c. 1790, flared cornice over glazed doors enclosing shelves; lower case with fall front escritoire drawer, well-fitted interior, over paneled doors, bracket feet, height 87 1/2 in., width 42 in., depth 21 in. $1000/1500

$1200/1800

$1000/1500

W denotes the lot is illustrated at www.nealauction.com

163

809. An Antique George IIIStyle Inlaid Mahogany and Satinwood Secretary Bookcase, 19th c., upper case with arched cornice, paneled doors; lower case with fall front escritoire drawer, fitted interior, two paneled doors below, bracket feet, height 95 in., width 50 in., depth 23 in. $2000/3000

807

808

809

807. A Georgian-Style Carved Mahogany Two-Pedestal Dining Table, reeded top opening to receive three leaves, baluster stems on arched legs ending in claw and ball feet, height 30 in., length 76 1/2 in., width 46 in. $1500/2500

164

810

808. A Good Antique George III-Style Carved Mahogany Hall Table, 19th c., molded top, plain frieze, bracketed molded legs, height 30 3/4 in., width 72 3/4 in., depth 31 1/4 in.

810. A Set of Twelve George III-Style Carved Mahogany Dining Chairs, comprised of two arm and ten side chairs, shaped crest, openwork vasiform splat, cabriole legs, paw feet.

$800/1200

$2000/3000

811. An Antique English Mahogany Drum Table, revolving circular top inset with red tooled leather, frieze fitted with drawers, turned baluster support, arched legs, pad feet, height 29 in., diameter 25 in. $700/1000 812. A Georgian Inlaid Mahogany Chest of Drawers, late 18th c., serpentine top above conforming case with four drawers, molded base, bracket feet, height 36 3/4 in., width 44 in., depth 20 1/4 in.

811

812

$1000/2000 813. An Italian Carved Walnut Cabinet, 19th c., upper case with two doors flanked by columns; base with columnar uprights, stretcher shelf, bun feet, height 51 1/2 in., width 45 1/2 in., depth 20 3/4 in. $800/1200

813

814

814. A French Provincial Carved Fruitwood Serpentine Buffet à Deux Corps, 18th c., molded cornice over a pair of shaped doors, stop fluted stiles, the base with pull-out slide above six paneled drawers, interior and drawers padded and lined in linen, on shellcarved cabriole legs ending in scrolled toes, height 92 1/2 in., width 58 in., depth 28 in. $2500/3500

815

815. A Charles X Carved Mahogany Settee, c. 1835, the scrolled arms with foliate carving, on scrollcarved cabriole feet, height 36 1/2 in., width 61 in., depth 23 in. $1500/2500 W denotes the lot is illustrated at www.nealauction.com

165

817. An American Federal Tiger Maple Chest of Drawers, early 19th c., rectangular top over one deep drawer and three graduated drawers, turned legs, height 43 1/2 in., width 41 in., depth 22 1/2 in. $1200/1800 816

818. Follower of Godfrey Kneller (English, 16461723), “Portrait of a Gentleman”, 18th c., oil on canvas, 30 in. x 25 1/4 in., framed. $1500/2500

819

817

819. Joseph Thors (English, c. 1835-1898), “Pair of English Country Landscapes”, pair of oils on canvas, each signed lower right, 14 in. x 18 in., framed alike. $2000/3000

820

820. Attributed to Eugene Gabriel Louis Isabey (French, 1767-1855), “Three Ladies in the Park”, oil on panel, “Wallis & Sons, The French Gallery, London” label en verso, French gallery inventory label with title and attribution en verso, 12 1/4 in. x 9 1/2 in., framed. $1500/2500

818

166

816. An American Federal Inlaid Mahogany Games Table, early 19th c., demilune foldover top, frieze with patera inlay, square tapered legs, spade feet, height 29 in., width 37 in., depth 18 in. $700/1000

821. Guido Agostini (Italian, active 1870-1898), “View of Florence from the Boboli Gardens”, 1887, oil on board, signed and dated lower center, signed, dated and inscribed en verso of board “Firenze veduto dal Giardino/ Reale di Boboli. Guido Agostini/ di Firenze. dip.1887” and with a City Gallery, London, label en verso, 10 1/4 in. x 13 1/4 in., giltwood frame. $1500/2500 W 822. John Gould (English, 1 804-1881), “Hylocharis

Sapphirinus”, “Selasphorus Platycercus”, “Campylopterus Phainopeplus”, “Ionolaema Whitelyana”, four hand-colored lithographs, from A Monograph of the Trochilidae, or Family of Humming-birds, 1880-87, sight 19 1/2 in. x 14 in., attractively matted and framed. (4 pcs.) $800/1200 823. A Pair of Regency Gilt Bronze and Brass Candlesticks, early 19th c., foliate circlet hung with prisms, height 8 5/8 in. $700/1000

821

824. An American Aesthetic Silverplate Tea Tray, Meriden Britannia Co., Meriden, CT, founded 1892; with “bamboo” loop handles, allover Aesthetic decoration and 1892 presentation inscription, 26 1/2 in. x 20 in. $300/500 825. A Royal Castle Sheffield Monteith, crenellated border with lion’s mask and ring handles, on large circular stepped plinth, height 14 3/4 in., diameter 19 in.

823 824

$800/1200 826. An American Carved Marble Portrait Bust of a Lady of Fashion, Thomas Waldo Story (American, 1855-1915), 1886, signed, inscribed “ROME” and dated lower right, in a giltwood frame with plaque reading “Present to The First Presbyterian Church...1924, Syracuse, N.Y., by Mr. and Mrs., James Belden Gere...”, 22 7/8 in. x 18 1/2 in. $1000/1500

825

826 W denotes the lot is illustrated at www.nealauction.com

167

831 827 829. A Louis XVI-Style Carved Oak and Bronze-Mounted Regulateur de Parquet, c. 1900, after the model by JeanHenri Riesener, now conserved in the Musée du Louvre, cloud and putti case with putti suspending garlands, enameled dial over Apollo mask, pendulum door centered by floral urn, the whole on incurvate plinth, on toupie feet, movement marked “Samuel Marti, Medaille d’Or, Paris, 1900”, height 87 1/2 in., width 19 1/2 in., depth 13 in. $4000/6000

829

830. A Napoleon III Gilt and Patinated Bronze Figural Clock, late 19th c., well-cast putto, porcelain dial case festooned with fruit garlands, base centered by a lion mask, on paw feet, height 26 1/2 in., width 20 1/2 in., depth 12 in.

828

$3000/5000 831. An Antique Queen Anne-Style Carved Mahogany Tilt-Top Candlestand, dished top, turned stem, cabriole legs ending in snake feet, height 28 in., diameter 22 in.

827. A Good Antique Continental Carved and Polychromed Wood Figure of St. Peter, 17th/18th c., probably Spanish, with a book and key to Heaven, height 37 in. $2000/3000

$500/700

828. A French Carved Giltwood Mirror, 19th c., intricate anthemion cove-molded edge, egg and dart molded surround, original mirror plate, 38 in. x 31 1/2 in. $400/600

168

830

832

834

832. A Pair of Italian Carved Walnut and Caned Fauteuils, 19th c., shell crest, interwoven splat, height 37 in., width 24 in., depth 21 in. $1200/1800 W 833. An Antique French

Carved Walnut Bedside Commode, sarcophagus top fitted with a drawer, cupboard below, cabriole legs. $600/900 834. A Set of Six Louis XVI-Style Bronze-Mounted Walnut and Caned Side Chairs, 20th c., balloon back, horseshoe seat with rosette blocks, tapered fluted legs.

835

836

837. A Patinated and Polished Bronze Figure of a “Centaur Hurling a Boulder”, after Cipri Adolf Bermann (German, 18611942), signed right of base, inscribed “cast by H. Klement/ Munich” as translated from original German, black marble base, height 33 1/2 in., width 11 in., depth 17 1/2 in.

$1000/1500 835. A Dutch Carved Walnut Settee, 19th c., padded back and seat, shepherd’s crook arms, cabriole legs ending in pad feet, height 37 in., width 43 1/2 in., depth 20 1/2 in.

$1500/2500

$800/1200 836. An Italian Carved Olivewood Bedside Commode, 18th c., lift top, hinged compartment and void interior, cabriole legs, height 29 1/4 in., width 17 3/4 in., depth 15 1/4 in.

837

838

838. A Neoclassical Bronze, “Diana of Versailles”, after the Antique, showing the goddess with a deer, pulling an arrow from her quiver, on a circular bronze self-base, height 20 in., width 27 in., depth 20 7/8 in. $600/900

$800/1200 W denotes the lot is illustrated at www.nealauction.com

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841. Arthur Vidal Diehl (American, 1870-1929), “Docked on the Thames”, oil on board, signed lower left, 14 in. x 17 in., framed. $500/700 842. Carl Oscar Borg (Swedish/California, 18791947), “Villa Adriana (Hadrian’s Villa), Tivoli, Italy”, 1912, watercolor, signed, titled and dated lower right, pencil titled en verso, 7 7/8 in. x 9 3/4 in., framed. 841

$500/700 843. Petrus Theodorus Van Wyngaerdt (Dutch, 18161893), two genre scenes depicting “Books from the Locked Cabinet”, 1868, oil on wood panel, signed and dated lower right, 13 3/4 in. x 10 1/2 in.; and “A Quiet Theft”, oil on wood panel, signed lower center, 13 3/4 in. x 10 1/2 in., matching gilt wood frames.

839

$2000/3000

842

840

839. A Danish Terracotta Bust of the Apollo Belvedere, early 20th c., stamped “L[auritz] Hjorth (Danish, 1859-1931) [no.], 536, Eneret”, after the life-size Roman antiquity in the Belvedere Courtyard of the Vatican Museum, height 13 1/2 in., width 9 3/4 in., depth 5 1/2 in.

840. A George III-Style Walnut and Parcel Gilt Mirror, broken arch crest, surmounted by a gilt eagle, beveled mirror plate, floral pendant sides, shaped base.

$500/700

$1000/1500

170

843

844. Charles Monginot (French, 1825-1900), “Darwin’s Theory Explained”, March 1877, oil on board, signed lower left, dated and titled en verso, 14 in. x 12 in., framed. $1000/2000 Note: Monginot was known for his convincing renderings of animals and is considered one of the masters of the distinctly French genre of “Singeries”, which translates as “monkey trick.“ This style of painting originated with the 17th c. designer Jean Berain the Elder who included figures of frolicking monkeys in his arabesque wall decorations. In Singerie paintings, monkeys are depicted taking part in distinctly human activities, frequently fashionably attired or in exaggerated costumes to emphasize the scene’s comic nature. In this delightful episode Monginot playfully toys with the theories of evolution and natural selection put forth by Charles Darwin in “On the Origin of the Species” (1859) and “The Descent of Man” (1871). He depicts a macaca mulatta, more commonly referred to as the rhesus monkey, teaching the theories to a younger monkey. The rhesus monkey, one of the most popular of zoo animals, is known for its innate curiosity and active lifestyle; it is also notoriously promiscuous. Monginot studied with Thomas Couture (French, 1815-1879) and made his debut at the Salon of 1850; he was awarded Salon medals in 1864 and 1899.

844

848

849 845. H.C. Buttler (English, late 19th c.), “English Village Scenes”, 1889, pair of oils on canvas, each signed and dated lower left, each 16 in. x 24 in., matching gilt frames. $2000/3000 W 846. A Suite of Six Hand-Colored

Cock Fighting Engravings, c. 1853, by Fielding, published by Ackermann, sight 9 3/4 in. x 11 in., period maple frames.

848. An Arts and Crafts-Style Oak Bookstand, slanted bookrest top, trestle support with two shelves over an adjustable shelf, height 37 1/4 in., width 27 1/4 in., depth 15 in.

845

W 847. A Baroque-Style Carved

$300/500

Walnut Bookstand, 20th c., Baker Furniture Co., labeled, scrolled X-form supports, stretchers, blocked feet, height 37 in., width 18 3/4 in., depth 15 3/4 in.

849. An English Carved and Burled Walnut Sewing Stand, mid-19th c., lift top, tapered work basket, vasiform stem, arched legs, pad feet, height 26 in., width 19 1/2 in., depth 14 in.

$500/700

$250/350 Provenance: Estate of James P. Raymond (19312011), New Orleans, LA. W denotes the lot is illustrated at www.nealauction.com

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852. A Directoire-Style Painted and Parcel Gilt Armchair, wide crest rail above a reticulated back with rosettes, shaped arms on winged griffin supports, paw feet. $800/1200

850

852

853. An Antique French Provincial Carved Oak Commode, shaped marble top, conforming case with two drawers, paneled sides, cabriole legs, height 35 1/4 in., width 45 in., depth 20 3/4 in. $800/1200 854. An Italian Carved Fruitwood Spice Cabinet, 19th c., three open shelves over a single drawer, shaped apron, scrolled toes, height 34 in., width 24 in., depth 9 in. $500/700

853

854

850. An Edwardian Painted Satinwood Chairback Settee in the Adam Taste, early 20th c., shield back, shaped arms, serpentine seat rail, square tapered legs, brightly painted floral decoration, height 36 3/4 in., width 37 in., depth 18 1/2 in. $1200/1800

855. A Good French Cast Iron Baker’s Table, 19th c., marble top, reticulated frieze, paired scroll supports, ram’s head mounts, casters, height 32 1/2 in., width 45 in., depth 23 in. $1200/1800

W 851. Two Antique English Black

Lacquered and Gilt Decorated Trays, with scalloped rims, later bamboo-turned stands, height 22 3/4 in., width 31 1/2 in., depth 24 in. 855

172

$700/1000

856

858

858. An American Restauration Carved Mahogany Pedestal Sideboard, early 19th c., in the manner of Duncan Phyfe, top with a mirrored backsplash flanked by blocked pilasters, stepped frieze above blind drawer, each pedestal with pull-out serving slide, paneled door below, stepped molded base, casters, height 54 in., width 75 1/2 in., depth 25 1/2 in. $800/1200 W 859. An American Classical Carved Walnut Armchair, early 19th

c., shaped crest, scalloped medial rail, chamfered stiles, scrolled arms, serpentine seat rail, tapered legs. $300/500

857

856. A Pair of Antique Louis XV-Style BrassMounted and Painted Fauteuils, each with arched crest centered by a shell, padded back and arms, serpentine seat rail, cabriole legs, blue paint. $800/1200 Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA. 857. A Louis Philippe Burl Walnut Commode, 19th c., shaped black marble top, ogee-molded frieze drawer above three drawers, molded base and bracket feet, height 37 3/4 in., width 51 1/2 in., depth 24 in. $1000/1500

860

860. An American Classical Bronze-Mounted Mahogany Box Sofa, early 19th c., New York, tubular arm rail faced with bosses, columnar uprights, plinth base, height 33 1/2 in., width 84 in., depth 32 in. $3000/5000

W denotes the lot is illustrated at www.nealauction.com

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861

862

861. A Fine American Federal Carved Mahogany Side Table, c. 1800-1825, Mid-Atlantic, frieze drawer, tapered reeded legs ending in brass ball feet to the front, tapered turned legs to the rear, height 32 7/8 in., width 32 in., depth 17 in. $2000/3000 862. A Pair of American Cast Iron “Fern Pattern” Garden Armchairs, 19th c., green paint. $1200/1800 863

Provenance: Longwood Plantation, built c. 1785, East Baton Rouge Parish, LA. 863. William Aiken Walker (American/South Carolina, 1838-1921), “Double Portrait of Sharecroppers in Cotton Field, Rice Field Beyond”, oil on artist board, signed lower left, 6 1/4 in. x 12 in., framed. $8000/12000 Note: To be included in the forthcoming catalogue raisonné by John Fowler. 864. American School, 20th c., “Steamboat News Express”, oil on canvas, unsigned, 15 in. x 30 in., antique frame.

864

174

$4000/6000

865. Nicola Marschall (German/Alabama/ Kentucky, 18291917), “Portraits of Siblings Edith Ward Newcomb (1867-1906) and Herman Danforth Newcomb (1872-1960)”, 1884, pair of oils on canvas, each signed and dated lower left, each titled en verso with remnant of handwritten label on latter, each 27 in. x 22 in., original matching gilt frames with oak leaf and acorn motif; accompanied by Newcomb family genealogical information. $5000/8000 Provenance: Estate of Herman Danforth Newcomb (1872-1960), Charlottesville, Virginia; to Bernard Caperton (1927-1989) Antiques, Charlottesville; to current owner.

865

Note: Edith Ward and Herman Danford were children of Florence Ward Danforth and Horatio Victor Newcomb (1844-1911), whose family lineage can be traced back to the founding fathers of this nation, including the families of George Washington and Edward Winslow. The wealthy Newcomb family resided at 683 Fifth Avenue in New York City and maintained homes in Louisville and New Orleans. Both sitters were born in Louisville and had their portraits painted there by the celebrated artist Nicola Marschall. An immigrant from Prussia, Marschall designed the Confederate flag and uniform, and became renowned for his portraiture in Alabama. In 1873, Marschall moved to Louisville and opened a studio. Edith married (first) Reginald Henshaw Ward of Boston and (second) Nathaniel Gibbs Ingraham of New York, with no issue. Herman married Matilda Florence Churchill (1876-1966) of Louisville, and the couple moved to Charlottesville, Virginia; they had two children, John Churchill and Florence Danforth Newcomb. The sitters were the great-niece and great-nephew of Josephine Louise Newcomb, who in 1886 founded Newcomb College in memory of her daughter Harriot Sophie Newcomb. Josephine’s husband Warren Newcomb was the uncle of the sitters’ father.

867

866

866. Paul E. Collins (American, late 19th/early 20th c.), “A Steam-Powered Ferry Approaching a Landing, Cypress Swamp”, 1878, oil on canvas, signed and dated lower right, 15 in. x 11 3/4 in., period frame. $2000/3000

867. A Steamboat J.M. White Silverplate and Cut Glass Cruet Set, marked “Gorham Mfg. Co. Prov/RI & New York 0830”, c. 1878, the circular stand retaining six original cut glass condiment holders; the two casters and mustard pot with Gorham sterling silver mounts, overall height 13 in. $800/1200 Provenance: Frances Tobin, New Orleans, granddaughter of Captain John W. Tobin, owner of the J.M. White. Note: The appointments of the J.M. White were legendary. As Ray Samuel and Leonard Huber write in Tales of the Mississippi, “...being the most glamorous steamboat ever built, there is no doubt at all. She was the ‘grand dame.’” Tales of the Mississippi., p. 117.

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175

868

871

869

870. An American Late Classical Carved Mahogany Tester Bed, c. 1835, probably New Orleans, faceted tapered posts, S-scrolled paneled headboard with shell crest, shaped footboard, conforming rails, molded feet, height 95 3/4 in., interior length 71 5/8 in., interior width 50 3/4 in. Note: later tester. $2000/3000

870

868. A Pair of Sheffield Plate Two-Light Candelabra, each in two sections, tapered shaft on square base, gadroon borders on candlecups and drip pans, scrolling arms, height 13 1/2 in., width 13 in. $800/1200 869. An American Late Classical Patinated Metal Figural Gas Lamp, 19th c., classical maiden on brass socle, supporting a dimpled, cut and etched glass shade, retaining gas-cock, height 17 1/4 in., width 7 in., depth 8 1/2 in. $1000/1500

176

Provenance: By family tradition, from Confederate General William L. Brandon’s Arcole Plantation home; thence to Barrow/Brandon/Bedgood House at Greenwood Plantation, Pinckneyville, Ms. 871. An American Late Classical Mahogany Single Door Armoire, mid-19th c., New Orleans, stepped cornice, paneled door, plinth drawer, bracket feet, height 87 1/4 in., width 52 in., depth 22 in. $1000/1500 Provenance: Shields Barrow, to The Barrow/Brandon/Bedgood House at Greenwood Plantation, Pinckneyville, MS.

W 871A. An

Antique Trundle Bed, spool head and foot rails, plain side rails, casters, height 14 in., length 57 in., width 46 in. $250/350 Provenance: The Barrow/Brandon/ Bedgood House at Greenwood Plantation, Pinckneyville, MS. 872. An American Classical Carved Mahogany Armoire, early 19th c., probably Louisiana, contemporane ously inscribed “Gerard Brandon/ Fort Adams/...”, ogee cornice, paneled doors, divided interior, on turned feet, old dark surface, height 85 in., width 66 in., depth 23 in. $1200/1800 Provenance: The Barrow/Brandon/ Bedgood House at Greenwood Plantation, Pinckneyville, MS. Note: Gerard Chittoque Brandon (1788-1850) was the first native born governor of Mississippi. He built Brandon Hall, north of Natchez.

872

874

873. Southern School, c. 1830., “Matthew Nugent Brandon (1792-1841)” and “Louisa Spencer Austin Brandon (d. 1874) of Mississippi”, pendant pair of oils on canvas, unsigned, 36 in. x 29 in., matching gilt frames.

873

874. Marie Therese Bernard de Jaham (American/New Orleans, 1869-1916), “Peddler Traveling in the Louisiana Countryside”, oil on board, signed lower right, 8 in. x 11 in., antique frame.

$2000/3000 Provenance: Brandon/Barrow/Bedgood House at Greenwood Plantation, Pinckneyville, Mississippi. Note: The distinguished son of Irish-born immigrants Gerard and Dorothy Nugent Brandon, Matthew Nugent Brandon was born on Selma Plantation at Washington, Mississippi, near Natchez. He married Louisa Spencer Austin in 1831. His elder brother was Gerard Chittoque Brandon. Their brother William Lindsay Brandon (1802-1890) was a Bridgadier General in the Confederate Army and lived at Arcole Plantation in Wilkinson County, Mississippi with his wife Ann Eliza Ratliff Brandon (1812-1842) of Ellersie Plantation. Both of Matthew Brandon’s brothers commissioned the Charleston artist Theodore Sidney Moise to paint their portraits. Moise did portrait work in Louisiana from 1841 to 1884. The pendant pair of portraits of “Matthew and Louisa Brandon” reflected their wealth with their elegant clothes and jewelry, and the architectural references to their plantation home.

$800/1200 Note: A student of George David Coulon and Andres Molinary, Marie Therese Bernard de Jaham was an accomplished woman artist working in New Orleans at the turn of the last century. In 1910, she earned a painting commission from St. Augustine, an African-American church in the Faubourg Tremé. Known for her religious paintings, de Jaham painted a copy of Murillo’s famed “Assumption of the Virgin” and life-size figures of the four Evangelists for ceiling of the church. In this charming painting, de Jaham depicts a scene from life, a peddler and his mule drawn cart as he roamed through southern Louisiana selling his wares. Reference: Mahe, John and Rosanne McCaffery, eds., Encyclopaedia of New Orleans Artists, 1718-1918, The Historic New Orleans Collection, 1987, p. 103.

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177

W 875. Marie

Nathalie Charbonnet (American/Louisiana, 1845-1924), “Palmettos and Live Oak Trees”, 1918, watercolor, signed and dated lower right, 11 in. x 15 1/2 in., period frame. $300/500 876. Attributed to William Aiken Walker (American/ South Carolina, 1838-1921), “Field Worker”, oil on panel, unsigned, 8 1/2 in. x 7 3/4 in., framed. $1500/2500 Note: To be included in John Fowler’s forthcoming catalogue raisonné on William Aiken Walker.

876

878

879

877

877. An American Rococo Carved Mahogany Bedstead, mid-19th c., in the manner of Prudent Mallard, New Orleans, shell-carved crest centering a cabochon, paneled headboard, shaped footboard, conforming rails, height 71 in., length 74 in., interior width 61 in. Note: Posts reduced. $4000/6000 Note: A bed at Stanton Hall, Natchez and a bed bearing multiple “C. Lee” stamps which descended in the family of Mississippi riverboat captain Tom Powell and was installed for many years at 2427 St. Charles Avenue, New Orleans, display crests, rails and posts very similar to those seen here. Reference: The Powell bed was sold by Neal Auction Company as lot 902, April 9, 2009. Harrison. “C. Lee, Maker of Bedsteads for the Southern Market”, Maine Antiques Digest (April 1994) pp. 30, fig. 5.

878. An American Late Classical Carved Mahogany Armoire, c. 1830-1840, New Orleans, in the manner of Prudent Mallard, flared, beaded, stepped cornice above a mirrored door, interior with shelves, spiral turned corners, ogee drawer, molded base, bracket feet, height 101 in., width 58 in., depth 25 in. $2000/3000 879. An American Carved Walnut Plantation Desk, c. 1820, molded gallery rail, slant top writing surface opening to painted fitted interior, single long drawer below, turned legs, height 35 1/2 in., width 37 in., depth 25 in. $800/1200

178

881

880

881. A Rare Louisiana Cherrywood and Cypress Table, c. 1800, plank top, drawer with cypress sides and bottom, square chamfered legs, beaded H stretcher, pegged construction, height 29 3/4 in., width 57 3/4 in., depth 34 5/8 in.

882

$4000/6000 880. An American Rococo Highly Carved Walnut Bibliothèque, c. 1860, Prudent Mallard, New Orleans, foliate crest, ogee cornice, lion’s mask frieze, foliate carved glazed doors flanked by spiral turned stiles, lower case having paneled foliate cabochon doors flanked by conforming stiles, blocked base, height 109 in., width 60 in., depth 19 1/2 in. $5000/7000 Provenance: Dufour-Baldwin House, 1707 Esplanade Avenue, New Orleans, descended in the Baldwin family and acquired by the current owner and re-installed in 1707 Esplanade Avenue. Cyprien Dufour (1817-1871), a prominent New Orleans attorney, state senator, essayist and author of Esquises Locales, commissioned architects Henry Howard and Albert Diettel for 1707 Esplanade in 1859. With personal and professional reversals during Reconstruction, Monsieur Dufour sold the house to businessman Albert Baldwin (1834-1912). A furniture inventory which accompanied the March 15, 1870 bill of sale is now preserved in the Orleans Parish Notarial Archives. This bibliothèque is listed in the library, “as per P. Mallard’s bill, Feby 24, 1860.” The Baldwin Family remained in the house until 1912. Note: Best known as a purveyor of Rococo Revival bedroom furniture, Prudent Mallard provided clients with monumental case pieces in the latest fashion, as evidenced by this example. The use of walnut, animal busts and strapwork crests on this cabinet look forward to Renaissance taste as presented by high style New York cabinetmakers such as Alexander Roux. The gravity of the Renaissance motif also agrees with the masculine atmosphere of M. Dufour’s library.

Provenance: Ex-collection Robert Smith, Breaux Bridge, LA; sold Neal Auction Company, December 2005, lot 471. Note: The robust chamfered legs and “H” stretcher on this table are similar to those found on mid18th c. Louisiana Colonial refectory tables, most notably in the Ursuline Convent, New Orleans. A design of this table base is documented in the “Roubo” manuscript, pl. 225, fig 1. The larger size of the traditional Acadian work tables, such as this, were often covered and used for family dining. Closely related to the table offered here is a cypress table from the Bourg Collection exhibited in “Louisiana French Furnishings 1700-1830” at the Art Center for Southwestern Louisiana, Lafayette, Louisiana, 1974; and a cypress table descended in the Melancon family of Breaux Bridge. Reference: Holden, et al. Furnishing Louisiana: Creole and Acadian Furniture 1735-1835. Pp. 244, 250 and 253.

883

882. An Antique Acadian Homespun Woven Cotton Blanket, late 18th/early 19th c., striped ends, constructed in two panels, 90 in. x 76 in. Note: Hand-woven patches. $3000/5000 Provenance: St. Landry Parish, LA. 883. An Antique Acadian Pieced Quilt, 19th c., various geometric pieces from clothing fragments, approx. 61 1/2 in. x 84 in. Note: Condition. $1000/1500 Provenance: St. Landry Parish, LA. Note: The pieces of this quilt show a great variation in pattern and color, typical of an Acadian household’s repertoire.

W denotes the lot is illustrated at www.nealauction.com

179

884

885

888. An American Queen Anne Cherrywood Dressing Table, 18th c., Connecticut, rectangular molded top, frieze drawer, cabriole legs ending in pad feet, height 24 1/2 in., width 30 3/4 in., depth 21 in. $800/1200 889. An American Southern Inlaid Walnut Side Table, 19th c., figured top, frieze drawer, square tapered legs, height 30 in., width 24 in., depth 21 in. $800/1200

888

889

884. An Antique Acadian Wool Blanket, mid-to-late 19th c., striped design, constructed in two panels with cotton warp, 66 in. x 73 in. Note: Old patches. $700/1000 885. An Antique Acadian Homespun Woven Cotton Blanket, c.1900, striped design, constructed in two panels, 80 in. x 63 1/2 in. Note: Some of the small stripes are created from colored cloth.

$1500/2500 Note: The use of spurs with the melon shape is atypical, however, an example from the collection of Dr. Ignatius DeMatteo was found in the attic of the old Spanish Custom House on Bayou St. John in New Orleans.

$700/1000 W 886. An Antique Acadian

Woven Child’s Cloak, late 19th/ early 20th c., edged with blue swag design, approximately 37 in. x 37 1/2 in. $500/700

Reference: Holden, Bacot, Gontar, et. al. Furnishing Louisiana: Creole and Acadian Furniture, 17351835. 2010, p. 382.

W 887. An Antique Acadian

Homespun Woven Cotton Blanket, late 19th c., faint stripe design, constructed in two panels, approximately 75 in. x 77 in. Note: Patches. $500/700

180

890. A Louisiana Carved Walnut Low-Post Youth Bedstead, early 19th c., melonshaped headboard with spurs, turned posts topped by ball finials, turned and tapered feet, height 47 1/2 in., length 76 in., width 30 in. Note: Later side rails.

890

891. An American Classical Mahogany Miniature Chest of Drawers, early 19th c., rectangular top, outset drawer over three graduated drawers, dovetailed case and drawers, ring and ball turned feet, height 14 3/4 in., width 13 3/4 in., depth 9 1/4 in. $600/900 Provenance: Longwood Plantation, built c. 1785, East Baton Rouge Parish, LA. 891

892. A Louisiana Cypress and Pine Table, 19th c., faint traces of old red paint, plank top, frieze drawer, tapered legs joined by stretchers, height 29 1/4 in., width 47 1/2 in., depth 26 1/2 in.

892

$1000/1500 893. An American Classical “Fancy” Painted Blanket Chest, c. 1830, rectangular lift top, divided interior, bracket feet, height 25 3/4 in., width 39 1/2 in., depth 19 5/8 in. $800/1200 893

894. An American Federal Mahogany Lolling Chair, early 19th c., arched crest, molded arms, legs joined by stretchers, casters.

894

$600/900 895. An American Classical Carved Mahogany Gentleman’s Wardrobe, early 19th c., Philadelphia, stepped molded cornice above a figured frieze, Ionic columns flanking arched doors, fitted interior of shelves and drawers, raised on acanthus-carved paw feet, height 91 in., width 74 in., depth 27 in. $3000/5000

896

895

896. An American Late Classical Carved Mahogany Pier Table, 19th c., probably Baltimore, black marble top, ogee frieze, columnar supports with Ionic capitals, mirrored back flanked by pilasters, height 39 3/8 in., width 42 1/8 in., depth 19 1/4 in. Note: Original marble in “estate” condition, several old repairs. $1200/1800

W denotes the lot is illustrated at www.nealauction.com

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899

897

900

897. An American Classical Carved, Ebonized and Gilt Pier Mirror, c. 1830, attributed to Isaac L. Platt, New York, split column surround with foliate and molded collars, fleur-de-lis corners, height 55 in., width 28 1/2 in.

899. An American Classical Carved Mahogany Grecian Sofa, early 19th c., Boston, molded crest rail, “S” scroll head with anthemion terminal, “C” scroll foot, molded seat rail, lobed feet, brass cuffs and casters, height 34 in., width 72 in., depth 24 in.

$1500/2500

$1200/1800

Provenance: Ex-Collection of noted antiquarian David Stockwell. Note: A labeled mirror with similar carved elements is conserved at the MunsonWilliams-Proctor Institute, New York. Reference: D’Ambrosio, Anna Tabin, Masterpieces of American Furniture from the Muson-Williams-Proctor Institute, 1999, pp. 44-45.

900. An American Rococo Carved and Laminated Rosewood Méridienne, mid-19th c., attributed to J. & J.W. Meeks, New York, in the pattern commonly known as “Stanton Hall”, height 39 3/8 in., width 61 1/4 in., depth 29 in. $4000/6000

898

898. An American Classical Giltwood Pier Mirror, early 19th c., blocked cornice with spherule pendants, trompe l’oeil panel over mirror plate flanked by engaged columns, height 52 1/4 in., width 30 1/8 in. $400/600

182

Note: The carved ornament on this méridienne places it within a well-known group of laminated parlor furniture, most notably the suite in the parlor at Stanton Hall, Natchez. Distantly derived from Louis XV prototypes, the Rococo Revival méridienne form seen here is an innovation of the mid-19th c. A nearly identical méridienne is illustrated in Dubrow. American Furniture of the 19th c., p. 112.

901. An American Classical Carved Mahogany Games Table, early 19th c., Philadelphia, foldover top with rounded corners, frieze with central basket of fruit, acanthus and scroll corners, ring and spiral twist legs, ball feet, height 30 in., width 40 in., depth 20 in.

901

$800/1200 902. French School, 19th c., “Portrait of Mother and Child holding a Sprig of Cherries”, oil on canvas, unsigned, inscription en verso, 30 in. x 24 3/4 in., period gilt frame.

902

$800/1200 903. Southern School, c. 1850, “Portrait of Elizabeth “Bodae” Davis Oliver” Hagan (1831-1894), oil on canvas, 35 1/2 in. x 28 in., framed.

904

$2000/3000 Provenance: Descended in an Alabama Family. Note: The sitter, daughter of Samuel White Oliver (1796-1838), an eleven-term Alabama State Representative, and Elizabeth Hunter (1809-1883), married Irish-born cotton merchant James Hagan (1822-1901) in 1854. The couple resided in Mobile. Hagan, who had volunteered for service in the Mexican War, earned the rank of C.S.A. Brigadier General during the Civil War. After the war, James and Elizabeth Hagan were left penniless, but James soon found work managing a plantation on the Alabama River while Elizabeth raised their four sons. They returned to Mobile in the 1880s and stayed there until their respective deaths.

903

905

904. An American Sterling Silver Basket, New York, c. 1910, deep reticulated elliptical bowl on a shaped circular pedestal base, swing handle, rim and foot with flowerhead and scrollwork borders, height 14 in., width 14 in., depth 9 in., weight 39.90 troy ozs. $1000/1500

905. A New Orleans Coin Silver Presentation Cup, H.E. Baldwin & Co., wc. 1842-1853, marked “H.E.BALDWIN & Co.” in arc, “NEW.ORLEANS” in rectangle, and “MANUFACTURERS” in arc; paneled octagonal baluster form on stepped foot, scroll handle with thumbpiece, 1846 presentation inscription, height 5 in., weight 4.05 troy ozs. $300/500 Note: A slightly larger cup of identical design, from the collection of the Anglo-American Art Museum (now the LSU Art Museum), is illustrated in Crescent City Silver, p. 93, no. 98; mark illustrated p. 125, no. 6. Exhibited: Historic Arkansas Museum, 1989-2012.

W denotes the lot is illustrated at www.nealauction.com

183

W 906. An Arkansas Coin Silver

W 911. A Large Group of

Agricultural Premium Cup, Albert Coles, New York, act. 18351875; engraved “First Fair/of/Ark/ State Agr’l/& Mech/l Assn/1868”, footed form with molded handle and Renaissance Revival engraving; height 3 1/2 in., weight 3.35 troy ozs.

American Coin Silver Spoons, including 2 tablespoons and 1 teaspoon, H.P. Buckley, New Orleans; 6 tablespoons, Orlando C. Forsyth, New York, c. 1810, engraved “Maid of Orleans”; 4 tablespoons, William Gale & Son, New York, wc. 18531866; 4 tablespoons marked “F.M”; teaspoons including 5 R. & W. Wilson, Philadelphia; 1 Hyde & Goodrich, New Orleans, 1 W.H. Calhoun, Nashville, wc. 1835-1865, 1 W. Kendrick, Louisville, 1 Gale & Son, ret. J. Veal, probably Madison, GA.; and 5 master salts spoons; 37 pcs., combined weight 38.40 troy ozs.

$200/300 Note: The first Arkansas State Fair, presented by the Arkansas State Agricultural and Mechanical Association, was held in Little Rock on November 17-20, 1868. Exhibited: Historic Arkansas Museum, 1989-2012.

908

$700/1000

W 907. A Good Group of

Tennessee Coin Silver Flatware, including 1 tablespoon, 3 soup/ dessert spoons, 4 teaspoons, and a master salt spoon, Thomas Cain, Knoxville, wc. 1809-1813, lengths 8 14 in., 6 3/4 in. and 5 3/4 in; 4 forks, Thomas Gowdey, Nashville, wc. 18251863, length 7 3/4 in.; 1 fork, Gates & Pohlmann, Nashville, wc. c. 1865, length 7 3/4 in.; 3 teaspoons, Samuel Bell, Knoxville, wc. 1819-1852, length 6 1/8 in.; 1 cream ladle, J. Bell, length 5 3/4 in.; and 1 master salt spoon, Paul Negrin, Nashville, wc. 18231844, length 4 1/16 in.; combined weight 20.20 troy ozs.

W 912. A Group of Kentucky

Coin Silver Spoons, including 2 soup spoons, S.R. Blessenthal, Louisville, length 8 5/8 in. and 2 teaspoons, Garner & Winchester, Louisville, wc. 1842-1862, length 5 5/8 in.; combined weight 4.65 troy ozs. $200/300 Provenance: Collection of Steven Cabot Barnes Harvey. 909

$800/1200 Provenance: Collection of Steven Cabot Barnes Harvey. Reference. Caldwell, Benjamin. Tennessee Silversmiths, pp. 46-47, 94-98, 90-91, 32-36, 134-135, Negrin salt spoon and mark illustrated figs. 102c and 102d.

908. A Set of Six New Orleans Coin Silver Dinner Forks, ret. Young & Co., New Orleans, active 18501853, marked “YOUNG & CO” in rectangle and with curious marks, upturned fiddle typt handle with rounded shoulders, engraved script initials on upper face “LPMR”, length 7 3/4 in., weight 11.15 troy ozs.

909. A Set of Five Natchez Coin Silver Spoons, T.C. Coit, 1791-1841, act. Natchez, c. 1820-1841, marked T.C.COIT in serrated rectangle; fiddle back engraved “Chaille”, length 8 5/8 in., weight 9.70 troy ozs.

$300/500

Provenance: Longwood Plantation, built c. 1785, East Baton Rouge Parish, LA.

Reference: The Anglo-American Art Museum. Natchez-Made Silver of the Nineteenth Century. pp. 14-15.

Note: Young & Co., was a partnership of the widow Mrs. Nelson A. Young and H.P. Buckley, 1850-53, and was succeeded by H.P. Buckley in 1853. Reference: Crescent City Silver.

913

W 910. A Set of Five Natchez Coin Silver

Tablespoons, Robert Haughton, act. Natchez, 18191829, marked “R. Haughton” in rectangle; fiddle back, script monogram “D”, length 9 in., weight 9.70 troy ozs. $300/500 Reference: The Anglo-American Art Museum. Natchez-Made Silver of the Nineteenth Century. pp. 12-13.

184

Reference: Boultinghouse, Marquis. Silversmiths of Kentucky, 1785-1900, pp.130 and 301.

913. A Partial Set of Hyde & Goodrich Coin Silver Flatware in the “Lover’s Knot” Pattern, New Orleans, wc. 1828-1861, marked “HYDE & GOO DRICH” in rectangle, including 6 forks, approx. length 8 in., and 6 table spoons, length 8 1/4 in., with French and also with Wood & Hughes, New York, hallmarks, engraved script initials on reverse with one excep tion, combined weight 26.70 troy ozs. $600/800 W 914. A Good Group of

American Coin Silver Flatware, including 8 William Gale & Son knives, New York, wc. 1853-1866, length 8 1/4 in., 2 hh butter knives; an Albert Coles & Co. fh butter knife, wc. New York, 1835-1875; and 12 “Medallion” pattern coffee spoons, by Hotchkiss & Schreuder, 1864-1874, Syracuse, NY, approximate combined weight 12.10 troy ozs. $400/600

W 915. A Group of American Coin

Silver Serving Pieces, 19th c., various makers, including a fish knife with downturned fiddle typt handle, length 12 7/8 in., weight 6 troy ozs.; set of 6 tablespoons, Arthur Johnston, Hagerstown, Maryland, c. 1835-1845, marked “A JOHNSTON” in rectangle, downturned rounded end handle with suggestion of a fiddle handle, short pointed shoulders, incised rounded drop, engraved script initials on upper surface, length 9 3/4 in., weight 12.20 troy ozs.; set of 6 tablespoons with double struck marks of John Gardiner (1734-1776), New London, Conn., wc. 1750-1770, downturned oval typt handle with incised drop, engraved script initials on upper face “FG”, length 8 3/4 in., weight 11.75 troy ozs.; 3 coffin end teaspoons, William Garret Forbes, marked “W.G. Forbes” script in rectangle, New York, NY, engraved script initials “LEH: on upper face, length 5 7/8 in.; “J. CONNING MOBILE” incise marked, single faced twist handle youth knife or spreader, length 7 1/8 in.; elongated twist handle olive tongs and a combination handle olive spoon and fork, length 9 1/4 in. and 9 3/4 in.; upturned fiddle typt sugar shovel, Richard Huntington, Utica, NY, wc. 1823-1855, marked “H” in square with an eagle and a profile head in squares; Aesthetic single face bright-cut engraved flat server, length 7 3/4 in.; together with sterling upturned fiddle typt teaspoon.

917. An American Coin Silver Julep Cup, “F. SAURIER” in rectangle, slightly tapered seamed side with applied molded rim, height 4 in., weight 4.90 troy ozs. $300/500 Exhibited: Historic Arkansas Museum, 1989-2012. 918. A Missouri Coin Silver Julep Cup, C.O. Grimes, Lexington, MO, incuse marks “C.O. GRIMES/LEXINGTON MO./ COIN”, molded rims, seamed sides, height 3 3/4 in., weight 4.60 troy ozs. $300/500 Exhibited: Historic Arkansas Museum, 1989-2012. 917

W 919. A Missouri Coin Silver Julep

Cup, Charles E. Baldwin, St. Joseph, MO, marked “BALDWIN/ST JOSEPH Mo”, tapered form with molded rims, script monogram, height 3 1/4 in., weight 3.10 troy ozs. $300/500 Exhibited: Historic Arkansas Museum, 1989-2012. Reference. Mack, Norman. Missouri’s Silver Age: Silversmiths of the 1800s. pgs. 5-7 and 155.

920. A Missouri Coin Silver Julep Cup, Louis zur Megede (b. 1821), St. Louis, Lexington and Richmond, MO, c. 1850; marked “MEGEDE”, “LEXINGTON” and “COIN”, molded and beaded rims, script monogram, height 3 1/2 in., weight 3.85 troy ozs.

$500/750

$300/500 Exhibited: Historic Arkansas Museum, 1989-2012.

W 916. A Group of American Coin

Silver Spoons, some Southern, including 1 tablespoon, Israel Boone Grant, St. Louis, MO, wc. 1817-1820, length 9 in.; 1 cream ladle, Andrew Poetz & Co., Mobile, AL, wc. 1854-1910, length 7 in.; 1 master salt spoon, Samuel Cockrell, Natchez, wc. 18381893, length 4 in.; 1 cream ladle, Charles Lefavour, Lynn, MA, wc. 1841-1860, length 6 1/2 in.; 1 soup/dessert spoon marked Chassagne, length 8 in.; and 1 master salt spoon, ret. Clark, Coit & Cargill, New York, c. 1830s-1840s, length 3 3/4 in.; total weight troy ozs.; 6.60 troy ozs.; together with an antique Christofle silverplate soup ladle, ret. Casimir Rouyer, New Orleans, 1850-1877, length 13 in.; and 4 nickel silver covered ramekins, Duhme & Co., Cincinnati.

918

W 921. A Missouri Coin Silver

Agricultural Premium Julep Cup, incuse maker’s mark “V”, engraved “Ralls Co./A.AndM.S./1854”, for Ralls County, MO Agricultural and Mechanical Society, seamed sides, molded rims with beading, height 3 1/2 in., weight 4.40 troy ozs. $200/300 Exhibited: Historic Arkansas Museum, 1989-2012. W 922. Six American Coin Silver

$200/300 Provenance: Collection of Steven Cabot Barnes Harvey. Reference: Mack, Norman. Missouri’s Silver Age: Silversmiths of the 1800s, pp. 72-73; Smith, Sidney Adair, Mobile Silversmiths and Jewelers 1820-1867; Natchez-Made Silver of the Nineteenth Century, pp. 28-29; and The Historic New Orleans Collection. Crescent City Silver, p. 123.

Reference. Mack, Norman. Missouri’s Silver Age: Silversmiths of the 1800s. pgs. 114-115 and 159.

920

“Fiddle Typt” Tablespoons, including 3 William Gale & Son, New York, wc. 18501860, ret. Hayden Brother & Co., Charleston, wc. 1852-1855; 2 Gale, Wood and Hughes, New York, wc. 1836-1845; and 1 Gale & Hughes, New York, wc. 18451850, ret. Gregg, Hayden & Co., Charleston, wc. 1838-1863; all with engraved script monograms, length 8 1/4 in., weight 8.20 troy ozs. $400/600

W denotes the lot is illustrated at www.nealauction.com

185

924

W 927. George

Castleden (British/ New Orleans, 18611945), “Courtyard, New Orleans”, lithograph, signed in plate lower left, signed and titled en verso, sheet 16 in. x 11 1/2 in., period frame.

923

$300/500 W 928. An American

925

926

Gilt Brass Girandole Garniture, mid-19th c., comprised of a threelight centerpiece flanked by single-lights, standards modeled as a boy and a girl by a fence, marble base, retain prisms, centerpiece height 15 7/8 in. $300/500

923. American or French School, early 19th c., “Gentleman Lawyer seated at his Cartonnier and Bureau Plat”, oil on canvas, unsigned, pencil inscription en verso, 18 in. x 23 in., framed. $2000/3000

925. An Antique Print of the Great Steamboat Race, Robert E. Lee and Natchez, c. 1887, chromolithograph, Donaldson Art Sign Co., Cincinnati, sight 19 1/2 in. 29 1/2 in., framed. $500/700

924. Currier and Ives / Publishers, “Husking”, 1861, hand-colored lithograph, after the painting by Eastman Johnson (American, 1824-1906), drawn on stone by Charles Severin, sheet 23 7/8 in. x 29 6/8 in. $2000/3000 Note: In 1932, a jury of print enthusiasts selected “The Best Fifty” of the most artistic and popular Currier & Ives prints. The image above, “Husking”, was selected as number one. Fifty-six years later, in 1988, the American Historical Print Collectors Society revisited the list. After polling their members, “Husking” was voted #3.

186

926. Jean Hyacinthe de Laclotte (1766-1829), “Andrew Jackson, Battle between the American and British Army, fought on the 23 rd December, 1814...”, c. 1815, engraving by F. Cardon, sheet 9 1/4 in. x 5 1/2 in., matted and framed. $600/900

W 929. A Pair of

Giltwood Valances in the Rococo Taste, 19th c., with scroll and floral decoration, height 18 in., width 72 in., depth 12 in. $500/750 W 930. A Folk Art

Polychrome and Carved Shield, depicting the Stars and Stripes, height 31 in., width 24 in. $400/600

933

934

W 931. A Pair of American

W 936. An American Gilt Lacquered

Folk Art Cast Iron Andirons, 19th c., in the form of “Jolly Sailors”, billet bars, height 17 in.

Brass and Bronze Solar Lamp, c. 1849, marked Cornelius and Company, Philadelphia, figural standard on marble plinth, prisms with cut and etched glass shade, height 25 1/2 in., diameter 8 1/2 in.

$400/600

$500/700 W 932. An Antique

American Églomisé Game Board, c. 1895, presented in a carved oak frame, sight 16 3/4 in. x 16 3/4 in.

937. [Declaration of Independence], “In Congress, July 4, 1776. The unanimous Declaration of the thirteen United States of America. When in the Course of Human Events...”, folio broadside (30 5/8 in. x 24 in.), engraved by W.J. Stone, reprinted 1833 from the same copperplate for Peter Force’s American Archives, with original folds, mounted to heavy stock, framed.

$500/750 933. A Set of Sixteen American Sterling Silver Repoussé Bread Plates, S. Kirk & Son, the rims with repoussé chased flowers and foliage, diameter 6 1/4 in., total weight 63.60 troy ozs.

$2000/3000

$2000/3000 934. A Pair of Louis Philippe Silverplate Candlesticks, 19th c., cast and engine-turned decoration, height 10 5/8 in.

937

$400/600

Note: In 1823 Congress commissioned Stone to produce a fine actual-size replica of the original engrossed Declaration of Independence. After Stone printed the 200 copies ordered, the original engraved plate remained with the Department of State. A few years later, Peter Force (1790-1868), historian publisher and mayor of Washington D.C., conceived a 20-volume anthology entitled American Archives, containing copies of letters, documents and broadsides from the Revolutionary War. Force arranged with the State Department to print 4000 copies of the Declaration.

Gilt Lacquered Brass and Bronze Solar Lamp, mid-19th c., font marked “J. Newill, Patent”, foliate standard, stepped marble base, cut and etched glass shade, prisms, electrified, overall height 21 5/8 in.

938. Jean Covens and Corneille Mortier (18th c.), “Carte de la Louisiane et du Cours du Mississipi, Dressee sur...Par Guill. de l’Isle”, c. 1730, Amsterdam, copper-plate engraved map, based on Delisle’s important work, this version locating New Orleans, and the first mention of Texas (Mission de los Teijas), neat line 17 1/4 in. x 23 1/2 in., sheet 18 5/8 in. x 25 1/8 in., framed.

$400/600

$1000/1500

W 935. An American

938

Provenance: The Collection of Charles B. Blair, of Grand Rapids, sold J.C. Morgenthau & Co., Inc, New York, March 30, 1939. W denotes the lot is illustrated at www.nealauction.com

187

W 941. Issac Tirion (d.

1769), “Grondvlakte van Nieuw Orleans, de Hoosdstad van Louisiana/ De Uitloop van de Rivier Missisippi/ De Oostelyke Ingang van de Missisippi, Met een Plan van het Fort, ‘T Welk het Kanaal Beheerscht”, c. 1767, copper-plate engraved map, laid paper, neat line 12 7/8 in. x 17 1/2 in., sheet 14 1/2 in. x 19 5/8 in., framed. $700/1000 Provenance: The Collection of Charles B. Blair, of Grand Rapids, sold J.C. Morgenthau & Co., Inc., New York, March 30, 1939.

940

W 942. Johann

Baptist Homann (1663-1724), “Amplissimae regionis Mississipi seu Provinciae Ludovicianae...”, c. 1720, Nuremberg, copper-plate engraved map, laid paper, watermarked “MA/D” inside teardrop, neat line 19 1/2 in. x 22 5/8 in., sheet 22 1/5 in. x 25 1/4 in., framed. $1000/1500 Provenance: The Collection of Charles B. Blair, of Grand Rapids, sold J.C. Morgen & Co., Inc., New York, March 30, 1939. 939

939. H. H. Lloyd (fl. 1860-75), “Lloyd’s New Map of the Mississippi River from Cairo to its Mouth”, c. 1863, published by H.H. Lloyd & Co., 25 Howard St., New York, drawn by F.W. Brooks, engraved by Waters & Son., colored engraving, sheet, 36 3/4 in. x 10 1/8 in.

943

Note: Known as the “Buffalo” map, and based on Delisle’s seminal work, this map features a title cartouche depicting a buffalo skin and colonial explorer Father Louis de Hennepin, a vignette of a beaver colony at Niagara Falls, and another cartouche with Indians flanking a standing buffalo.

$1000/1500 940. Christoph Weigel (1654-1725), “Novissima Tabula Regionis Ludovicianae Gallice dictae la Louisiane...”, 1734, Nuremberg, copper-plated engraved map, hand-colored, on laid paper, neat line 12 3/8 in. x 17 1/4 in., sheet 14 in. x 17 1/4 in., framed. $1000/1500 Provenance: The Collection of Charles B. Blair, of Grand Rapids, sold J.C. Morgenthau & Co., Inc., New York, March 30, 1939. Note: The cartouche depicts two gentlemen negotiating over a chest of gold coins and refers to the infamous collapse of the Mississippi Bubble in 1720, caused by the failure of John Law’s bankrupt Compagnie de la Louisiane d’Occident.

188

943. Jean Covens and Corneille Mortier (18th c.), “Carte de la Louisiane et du Cours du Mississipi, Dressee par... Guill. de l’Isle”, c.1725, Amsterdam, copper-plate engraved map, based on Delisle’s work, this early version without New Orleans, and with Mission de los Teijas, neat line 17 1/4 in. x 23 3/4 in., sheet 20 1/4 in. x 24 1/4 in., framed. $1000/1500 Provenance: The Collection of Charles B. Blair, of Grand Rapids, sold J.C. Morgenthau & Co., Inc., New York, March 30, 1939.

944

947

944. [French Atlas], Victor Levasseur (French, 1800-1870), Atlas National Illustre des 86 Departments st des Possesions de la France Divise par Arrondisements, Cantons et Communes..., published by A. Combette, Paris, 1852, folio (14 1/2 in. x 21 1/2 in.), paper-covered boards, with 101 engraved maps in outline color (one large fold-out), showing the departments and colonies, all within elaborate pictorial and descriptive borders. $700/1000 W 945. Homann Heirs (18th c.),

“Americae Mappa Generalis...”, 1746, Nuremberg, copper-plate engraved map, probably later coloring, laid paper, indistinct watermarks, neat line 18 1/4 in. x 20 1/2 in., sheet 20 3/4 in. x 24 5/8 in., framed. 948

$1000/1500 W 946. A Hand-Blown, Cut and

Etched Glass Apothecary Globe, in three parts, swag, shield and foliate design, height 26 3/4 in., diameter 7 in. $400/600 947. A Painted Cast Iron Garden Suite, Four Seasons pattern, comprised of a marble top table, a pair of settees and four armchairs, table height 27 1/2 in., width 35 1/4 in., depth 23 1/2 in. $2000/4000

948. A Pair of Monumental American Neoclassical-Style Cast Iron Garden Urns, campagna form with relief decorated floral and foliate banded bodies, mask handles, on rectangular bases mounted with laurel wreaths, height 56 in., diameter 22 in., depth 22 in.

949

$1500/2500 949. A Cast Iron Garden Figure of “Crouching Aphrodite”, the kneeling figure depicted resting on a plinth, associated base with relief-modeled classical motifs, height 69 1/2 in., width 22 in., depth 22 in. $1200/1800 W denotes the lot is illustrated at www.nealauction.com

189

950. A Continental Carved Oak Architectural Panel in the Gothic Taste, 19th c., arched crest, centered by a profile portrait bust within a foliate cartouche, molded base, height 30 in., width 63 1/2 in. $500/750 951. Carved Marble Figure of “A Girl Holding Her Doll”, raised on a yellow marble pedestal, figure height 40 in., pedestal height 28 in. $3000/4000 952. A Monumental American Aesthetic Carved Giltwood Overmantel Mirror, late 19th c., stepped molded crest with anthemia and sunflowers, spiral beaded columnar uprights, beveled mirror plate, height 76 1/2 in., width 72 in.

950

$800/1200 W 953. An Italian Rococo-

Style Carved Walnut and Parcel Gilt Mirror, late 19th c., molded frame, exuberantly carved with foliage and C-scrolls, height 64 in., width 56 in., depth 8 in. $600/900 954. A Pair of Italian Rococo Rouge Peinte and Parcel Gilt Consoles, 19th c., faux sienna marbre tops, pierced C-scroll and shell frieze, cabriole supports, height 29 in., width 33 in., depth 15 in. $2000/3000

951

952

954

190

955. An Italian Carved Fruitwood Commode, 19th c., of serpentine form, marble top over two drawers, cabriole legs, whorl feet, height 30 in., width 19 in., depth 21 in. $1000/1500 956. A French Empire-Style Mahogany and Ebonized Sécrétaire à Abattant, 19th c., blind drawer above a drawer and fall front, well-fitted interior, Egyptianesque pilasters, three drawers below, paw feet, height 68 in., width 43 in., depth 22 1/2 in.

955

959. French School, late 19th c., “Country Road with Village in the Distance”, 1882, pair of oil on wood panels, both initialed “Py” and dated lower right, The Lafayette Gallery, Baton Rouge and Tailleur Fils & Cie, Paris, France labels en verso, 5 1/2 in. x 9 1/4 in., period frames. $800/1200

956

$2000/3000 957. A Large Louis XVI-Style BronzeMounted Mahogany Bibliothèque, 19th c., molded top over frieze fitted with drawers and rosettes, brass grille work doors, shelf interior, fluted stiles, plinth base on toupie feet, height 56 1/2 in., width 123 in., depth 22 5/8 in. $4000/6000 958. A French Restauration Mahogany Center Table, tripartite scroll supports, medial shelf, height 30 in., diameter 48 1/2 in.

957

$1200/1800

958

959 (1 of 2) W denotes the lot is illustrated at www.nealauction.com

191

963. A Fine Antique Regency-Style Carved and Inlaid Mahogany Breakfast Table, banded tilt top with molded edge, vasiform support, reeded sabre legs ending in brass casters, height 29 in., length 64 in., width 44 in.

960

$1200/1800 961

962

960. Dutch School, 19th c., “Church in Winter Landscape”, in the manner of Frederik Marinus Kruseman (1816-1882), oil on canvas, 18 in. x 25 in., framed. $1500/2500 Provenance: A Shreveport, LA Estate. 964

961. Boris Pastoukhoff (Russian, 1894-1974), “Lilies - A Floral Still Life”, oil on canvas, signed upper right, 24 in. x 20 in., antique frame. $2000/3000 962. A Fine Pair of Louis Philippe Carved Rosewood Chaises, mid-19th c., shaped foliate crests, molded foliate stiles, serpentine seat rails, acanthus and anthemion carved cabriole legs, casters, retaining Aubusson upholstery. $800/1200

192

963

964. An American Classical Carved Mahogany Gentlemen’s Wardrobe, early 19th c., Baltimore, pedimented center section with fan cartouche and oval patera above graduated drawers centered by a fitted escritoire drawer, flanked by paneled doors and reeded stiles, plinth base, turned feet, casters, height 74 in., width 86 in., depth 21 in. $2000/3000

965. An American Rococo Carved and Laminated Rosewood Parlor Suite, mid-19th c., New York, comprising two settees, three armchairs and three side chairs; shaped backs with floral and scrolled acanthus crests, molded seat rails, cabriole legs, casters, settee heights 43 1/2 in; 47 in; widths 72 1/2 in; 77 in; depths 34 in; 35 1/2 in, respectively. $15000/25000 Note: The use of innovative seven-layer laminated construction and the robust, meticulous naturalism of the carving on this suite is informed by the work of the vanguard New York workshop of John Henry Belter and most closely related to J. and J.W. Meeks. The maker of this suite demonstrates technical virtuosity by incorporating extensive reticulation into the foliate details, a feature reserved for the top tier of the Meeks, Belter and noted “Bird Pattern” examples. The refined canapé forms of the sofas and the balloon chair backs further connect this suite with a maker intimately versed with Louis XV seating, and a sophisticated clientele. Reference: Known “Bird Pattern” examples include an arm chair illustrated in Dubrow, American Furniture of the 19th c., p. 95, a parlor suite sold in these rooms as lot 274 October 6, 2007, and a sofa from a New Orleans collection offered as lot 148, September 12, 2009.

W denotes the lot is illustrated at www.nealauction.com

193

968

966

969

968. A Louis XVI-Style Bronze-Mounted Mahogany Bureau Plat, inset tooled leather top, kneehole configuration of drawers, turned and tapered legs, height 29 7/8 in., width 66 in., depth 36 in. $1000/2000 969. An American Rococo Carved Mahogany Center Table, mid-19th c., New York, serpentine white marble top, conforming frieze, cabriole legs, X-stretcher with urn finial, casters, height 29 1/2 in., width 39 in., depth 27 1/2 in. $1200/1800 967

966. An English Carved Mahogany Sofa Table, 19th c., rectangular top, shaped drop leaves, frieze fitted with a drawer, turned tapered legs, casters, height 29 in., width 33 in., depth 24 in. $800/1200

Provenance: Descended in a New Orleans Family, removed from an Octavia Street residence. 967. A Pair of Charles X Mahogany and Marquetry Sleigh Beds, c. 1825, each scrolled end with elaborate inlay of flowers, horns of plenty and eagles, conforming rails, block feet. $2500/3500

194

W 970. An Eighteenth Century-Style

Parquetry Commode, shaped top, conforming case with three drawers, suppressed ball feet, height 30 in., width 40 in., depth 18 3/4 in. $500/750

972

974 (1 of a pair)

W 971. A Victorian

Carved Walnut Desk Chair, late 19th c., American or English, molded barrel back, C-scrolled splat, cabriole legs. $500/700 972. Six Antique Louis XVI-Style Gris Peinte Dining Chairs, lyre splats, leather seats with nailhead trim, rosette blocks, tapered fluted legs.

976

$1000/1500 977. Attributed to Conrad Kiesel (German, 1845-1921), “A Young Maiden”, mixed media including gilt paint, leather and oil on canvas, an embossed floral motif background, unsigned, Christie’s New York label en verso, 31 1/2 in. x 23 3/4 in., later frame.

W 973. A Set of Three

Regency Mahogany Nesting Tables, 19th c., openwork trestle supports, height 27 1/2 in., width 20 in., depth 13 in. $600/900 974. A Pair of Small Rococo Carved Rosewood Settees, mid-19th c., shaped backs, low scroll arms, serpentine seat rails, cabriole legs, casters, height 41 in., width 51 1/2 in., depth 25 1/2 in. $1000/2000

975

975. An Aesthetic Movement Black Lacquered Pedestal, late 19th/early 20th c., probably English, of Moorish inspiration, square top, geometric panels, arched bracketed supports, stretcher shelf, blocked feet, height 35 1/2 in., 12 in. square. $500/700

$1500/2500 Provenance: Christie’s, New York, lot 345, February 26, 1997.

976. An Early Georgian Carved and Burled Walnut Library Table, rectangular top, frieze fitted with drawers, S-scroll legs, stretcher, ball feet. $1500/2500

977

W denotes the lot is illustrated at www.nealauction.com

195

981. A Pair of Paris Porcelain Figural Candlesticks, 19th c., polychrome and gilt, each marked “62 14”, height 9 in., width 4 1/2 in., depth 4 1/2 in. $500/700

980

978

982. A Large Pair of Paris Porcelain Polychrome and GiltDecorated Cornucopia Vases, 19th c., hippocampus bodies, claret ground with floral gilt-decoration and polychrome floral garlands, height 15 1/2 in., width 9 1/2 in., depth 7 in. Note: One restored. $600/900 W 983. A Set of

981

Twelve Lazeyras, Rosenfeid and Lehman Polychrome Painted Limoges Dishes, c. 1920s, each variously painted with pairs of birds in flight above foliage and flowers, signed Lancy, gilt barbed rims, diameter 8 1/2 in. $600/900 Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA. W 984. A Set of Six

979

978. V. Varillaz (French, 19th c.), “Portrait of Napoleon”, 1839, oil on canvas, signed and dated center right, 23 7/8 in. x 19 3/4 in., in a period Empire-style giltwood frame. $1200/1800 Note: Napoleon is depicted here wearing the Legion d’Honneur Grande Croix, the Order de la Couronne en Fer, and probably the Grande Croix du Triomphe. The main church of Roscoff, France also houses a work by Varillaz. 979. A Pair of Sèvres Porcelain Baluster Vases, date mark of 1853, rose Pompadour ground, with gilt floral designs and banding, each reserved with cherub, one holding a garland, the other holding a flower and a blue shield, with three fleur-de-lis, height 12 in., diameter 4 1/2 in. $700/1000

196

982

980. A Pair of Large Paris Porcelain Figures, c. 1878, manuscript marked “Exposition Universelle Paris 1878 No. 812”, bases with blue and purple bands, height 18 1/2 in., width 7 in., depth 7 in. $700/1000

“Sèvres” Porcelain Cabinet Plates, late 19th c., with céleste bleu ground and gilt vine borders, reserved with transfer decoration of Napoleonic “N” crest and frolicking putti in various pursuits within a finely gilt foliate cartouche, red overglaze Chateau des Tuileries mark, diameter 9 1/2 in. $600/800

985. A Pair of Paris Porcelain Polychrome and GiltDecorated Garniture Vases, 19th c., trumpet form with apple green ground reserved with landscapes of Classical ruins, gilt borders, height 9 1/2 in., diameter 7 1/8 in.

985

994

$800/1200 W 986. An

Antique German Porcelain Plaque, “The Fisherman’s Wife”, 19th c., pencil inscription “Right of...”, numbered “9358” en verso, plaque height 15 3/4in., width 12 3/4 in., later frame.

996

$800/1200 987. A MeissenStyle Porcelain Figural Group of Neptune and Thetis, after the model by J. J. Kandler, modeled standing in a clam shell barge pulled by two hippocampi, attended by sea nymphs and putti among rolling waves, on a gilt decorated base molded with shells and leaves, spurious blue crossed swords mark, height 19 in., width 24 in., depth 10 in.

987

W 989. A Set of Six French Porcelain

Lustreware Oyster Plates, 19th c., coquiform, pink ground with oyster wells amid fronds, length 10 in., width 7 in. $300/500 W 990. A Biscuit Figural Group of “A

Mother Teaching Her Son the Alphabet”, after J. Guillot (French, early 20th c.), the base marked with a blue asterisk, height 13 1/2 in., width 6 3/4 in., depth 6 1/4 in. $500/750

$800/1200 W 991. A Set of 12 Capodimonte Gilt and W 988. A Set of Eight

Weimar Blue and White Porcelain Oyster Plates, c. 1930, each with five wells, vignette reserves, scalloped edges, backstamped, diameter 8 1/2 in. $800/1200

W 993. A Group of English Ironstone “Imari”

Polychrome Porcelain Plates, molded rim of Bacchanal procession, reserve with script monogram “N” amid hand-painted flowers, marked in blue underglaze, diameter 9 1/2 in. $600/900

Dinner Plates and Soup Plates, including 8 of each, decorated with Chinoiserie scenes, bases with Royal Arms mark, and motto “Dieu et mon droit”, plate diameter 10 3/8 in., bowl diameter 10 1/2 in. (17 pcs.) $400/600 Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA. 994. A Chinese Export Reverse Glass Painting, 19th/early 20th c., depicting three male figures and a child in a garden landscape, sight 16 3/4 in. x 24 3/4 in. $700/1000 W 995. A Pair of Pale Green and White

Porcelain Lidded Vases, 20th c., marked Sadek, bottle form bodies mounted to splayed stem feet, tiered domed cover, applied overall with pale green flowerheads, height 14 1/2 in. $200/300

Faience Dinner Plates, 19th c., with scalloped molded borders and polychrome floral decoration, game cock mark on reverse, diameter 9 1/2 in.

996. A Group of Three Continental Champlevé Enamel and Bronze Desk Accessories, late 19th c., including an alabaster pen tray, a lidded pin box, and a small alabaster pedestal, tray height 1 3/4 in., width 8 3/4 in., depth 2 3/4 in.; box height 3/4 in., width 2 3/8 in., depth 1 3/4 in.; pedestal height 5 1/2 in.

$300/500

$500/700

W 992. A Set of Ten Antique Tin Glaze

W denotes the lot is illustrated at www.nealauction.com

197

W 999. A Continental

Gilt-Mounted Green Glass Figural Claret Jug, early 20th c., in the form of an eagle, applied handle, height 9 5/8 in. $400/600

997

1000. A Napoleon III Gilt Bronze Jardinière, 19th c., oblong with putto handles, lobed bulbous body on pierced base with scrolled feet, height 12 in., width 15 1/4 in., depth 9 in.

1000

$700/1000 W 1001. A Pair of

Amethyst Urn-Form Garniture Vases, early 20th c., raised on square pedestal vases, height 14 3/4 in., width 4 1/2 in., depth 4 1/2 in. $2500/3500 1002. A Pair of Gothic Revival Gilt Bronze and Onyx Candlesticks, c. 1880, probably French, cast with gothic spires and tracery, on scrolled feet, height 30 in., diameter 6 in.

1003

$700/1000 1003. A Louis XVI-Style Carved Mahogany and Bronze-Mounted Jardinière, c. 1900, rectangular with bronze mounts, removable tin liner, on tapered, fluted legs, stretcher shelf, height 29 in., width 36 in., depth 13 3/4 in.

1002

1004

$500/750 997. A French Champlevé Enamel, Gilt Bronze and Polychrome Porcelain Dresser Tray, c. 1900, in the Rococo taste, a rocaille scroll frame, reserved with a plaque signed “G. Rochette” lower left and depicting 18th c. courtiers, height 1 1/2 in., width 13 in., depth 9 in. $700/1000 W 998. A Set of Four Paris Porcelain

1005

Gilt Decorated Tiebacks, 19th c., with grapeleaf decoration, height 5 in., width 4 in., depth 3 1/2 in. $200/400

198

1004. A Large Russian BronzeMounted Malachite Box, bail handles, void interior, paw feet, height 5 3/4 in., width 17 1/4 in., depth 11 in. $1500/2500 1005. A French Aesthetic Patinated and Gilt Bronze Jardinière, c. 1890, with reticulated rim, scrolled bail handles, fleur-de-lis medallions, elaborate scrolled feet cast with dragons and eagle masks, copper liner, height 20 in., diameter 14 in. $1000/1500

W 1006. A

Carved Rock Crystal Skull, with faceted semiprecious stones and silver thread trim, height 4 3/4 in., width 4 in., depth 6 1/2 in.

1008

$1200/1800 1007. A Pair of Rock Crystal and Argenté Two-Light Sconces in the Style of Bagues, 20th c., vasiform, with floral decoration, height 31 in., width 18 in., depth 6 1/2 in.

1007

$2000/3000 1008. A Lalique Glass “Marguerites” Center Bowl, 20th c., molded and frosted rim decorated with stylized daisies, height 3 in., diameter 14 1/4 in. $500/700 1011

1010

W 1009. A Neo-

Classical Bronze Figure of the “Dying Gaul”, 20th c., after the copy, now conserved in the Capitoline Museum, Rome, of the lost Hellenistic bronze, on verdigris marble base, height 7 1/2 in., width 12 in., height 6 1/2 in. $600/900 1010. A GeorgianStyle Carved and Gilded Mirror, with foliate and scroll decoration, height 47 in., width 27 in. $1400/1800

1011. A Pair of Chinese Iron-Mounted Blue and White Porcelain Storage Jars, broad shouldered pearform bodies decorated with scenic landscape reserves, the mouths mounted with iron covers with iron strap guards and keys, height 18 1/8 in. $1200/1800 1012. A Pair of Chinese Hardwood Console Tables, demilune waisted tops over carved aprons on serpentine legs terminating in ruyi scroll feet, height 34 3/4 in. and 35 in., width 46 3/4 in., depth 23 1/2 in. $700/900 1012 (1 of a pair)

W denotes the lot is illustrated at www.nealauction.com

199

1013

1016

1014

1013. A Set of Eight Hepplewhite-Style Carved Mahogany Dining Chairs, late 19th c., serpentine crests with vine and leaf carving, pierced splats with ribbons and husks, square tapering legs, spade feet. $1500/2000 1014. A George III-Style Carved Mahogany Two Pedestal Dining Table, top with reeded edge opening to receive one leaf, each pedestal with vasiform stem and reeded legs, brass paw feet, height 28 3/4 in., length 71 1/2 in., width 48 in. $1200/2000 1015. A Queen Anne Carved Oak Welsh Dresser, 18th c. and later, superstructure with molded cornice, scalloped frieze, and four shelves, the base with three drawers, cabriole legs, blocked feet, height 82 in., width 79 7/8 in., depth 19 in. $1800/2500 1016. A George II Chinoiserie Decorated Bookcase and Desk, 18th c. and later, molded cornice, a pair of glazed doors, shelf interior, the slant front lid enclosing fitted interior, inset leather writing surface, two over two drawers, bracket feet, raised gilt figural decoration overall, height 75 in., width 43 in., depth 23 1/2 in.

1015

200

$4000/6000

1017. A George III-Style Mahogany Chest of Drawers, 19th c., rectangular top, two over three graduated drawers, bracket feet, height 43 in., width 37 1/2 in., depth 20 1/4 in. $600/900 1018. An American Classical Carved Mahogany Sécrétaire à Abattant, c. 1830, Philadelphia, molded cornice, fall front with inset leather writing surface and fitted interior, three graduated drawers below, all flanked by gothic pilasters, pillar feet, height 56 in., width 49 in., depth 21 in. 1017

$800/1200 1019. An American Federal Carved Mahogany Corner Cabinet, 19th c., upper case with broken arch crest and urn finials, blocked frieze, glazed doors, shelf interior, flanking columns; conforming lower case with a medial drawer over paneled doors, paw feet, height 97 in., width 44 1/2 in., depth 27 in.

1019

$1200/1800 1020. An Antique George III-Style Inlaid Mahogany Bookcase, two glazed doors enclosing shelves; lower case with doors with figured veneer inlay, ogee bracket feet, brass handles, height 87 3/4 in., width 37 7/8 in., depth 12.

1018

$500/7500 1021. A George III Carved Mahogany Games Table, late 18th c., foldover top above a shaped frieze, tapering round legs, pad feet, height 29 in., width 32 1/2 in., depth 16 in. $700/1000

1020

1021 W denotes the lot is illustrated at www.nealauction.com

201

1024

1022

1026

1023

1022. A Good Pair of Louis XV-Style Crème Peinte and Parcel Gilt Fauteuils, shield back, padded arms, cabriole legs. $1500/2500 1027 1023. A French Neoclassical-Style Polychrome Five Panel Screen, each panel with grotesques and scrolled acanthus, alternated figures of Mercury and Cupid above trophées, taupe ground, height 88 in., width 92 1/2 in., depth 18 1/2 in. $1200/1800 1024. A French Bronze and Glass Figural Cocktail Table, c. 1965, after the design by Leon Francois Chervet, height 18 in., width 53 in., depth 31 in. $1500/2500 Provenance: Vito Jiallo Antiques, Madison and 76th Street, New York, New York.

W 1025. A Neoclassical-Style Inlaid and Gilded Low Table,

rectangular top, curule supports, stretcher, height 18 1/4 in., width 49 1/4 in., depth 27 1/4 in. $500/750 1026. An Antique French Parquetry and Carved Fruitwood Refectory Table, molded top, acanthus scrolled trestle supports, wrought iron stretcher, height 29 3/4 in., length 70 in., width 41 1/2 in. $800/1200 1027. A Set of Six Antique Continental Carved Walnut Side Chairs, each with leather back, conforming seat, turned and blocked legs, stretchers. $300/500

202

1028. An Antique George III-Style Mahogany Wingchair, 18th c., of typical form, square legs joined by stretchers. $400/600 1029. A Louis XVIStyle Gilt MetalMounted and “Vernis Martin” Demilune Commode, marble top above three frieze drawers; doors flanking two drawers, polychrome courting couple and landscapes, fluted tapered legs, height 36 1/2 in., width 45 5/8 in., depth 21 in.

1028

1029

$1000/1500 W 1030. A

British Arts and Crafts Carved Oak Pedestal, early 20th c., square top with inset Longwy tile, arched bracket supports, square outswept legs, stretcher shelf, height 33 1/2 in., 11 in. square.

1031

$200/400 1031. A RenaissanceStyle Carved Elm Trestle Table, fitted with two drawers, wrought iron stretcher, height 29 1/2 in., width 47 in., depth 25 1/2 in. $700/1000 1032. Joseph Caraud (French, 1821-1905), “The Music Lesson”, oil on canvas, signed and inscribed “Repete’ par... chaque/J. Caraud” lower left 32 in. x 25 in., framed.

1033

1033. A Louis XV-Style Gilt Metal and Cut Crystal Twelve-Light Chandelier, scrolled cage-form, cut glass sphere and vasiform standard, mounted with tall glass pyramids and hung with prisms, with interior accent light, electrified, height 71 in., diameter 37 in.

$1000/2000 Provenance: Sotheby’s, NY, February 10, 1998, lot 75.

$2000/3000

1032

W denotes the lot is illustrated at www.nealauction.com

203

1034. A Neoclassical-Style Carved White Marble Fountain Basin, 19th c., of oval form, molded rim, spouts on each end carved as lion’s masques, height 12 in., width 60 in., depth 24 in. $3000/5000 1035. A Charles X Carved Fruitwood Settee, scrolled arms, straight seat rail, saber legs, height 37 1/2 in., width 46 1/2 in., depth 22 in. 1034

$800/1200 1036. An Antique Louis XVI-Style Gilt Bronze-Mounted Marquetry Table en Rognon, kidney-shaped top with gallery, frieze drawer, medial shelf, slender cabriole legs, sabots, height 29 3/8 in., width 26 1/2 in., depth 12 3/4 in. $400/600

1035

1036

1037. A French Provincial Carved Walnut Buffet à Deux Corps, 18th c., molded cornice above paneled doors, barleytwist stiles, two medial drawers, the lower case with conforming doors and stiles on stepped base, bun feet, height 83 1/2 in., width 60 1/4 in., depth 23 1/4 in. $1500/2500

1038

1037

204

1038. A Pair of Antique Venetian Carved and Polychromed Wood Blackamoors, each turbaned figure in elaborately painted and gilt costume holding a spear and standing upon a hexagonal molded stepped plinth, height 73 1/2 in., width 26 1/2 in., depth 20 in. $4000/6000

1039. A Pair of Continental Gilt Bronze SevenLight Candelabra, 19th c., surmounted by urn with swan handles, foliate supports on tall pedestal, quadripartite base with egg and dart border, height 19 in., width 22 in., depth 9 in. $1000/1500 1040. A Pair of Continental Carved Granite Obelisks, of typical form, height 32 1/2 in., width 7 1/2 in., depth 7 1/2 in. $1500/2500 1039

1041. A Pair of Antique Louis XV-Style Gilt Bronze Five-Light Wall Sconces, late 19th c., acanthus backplate issuing five scrolling arms, height 28 1/2 in., width 23 in., depth 12 1/4 in. $1000/1500 W 1042. A Pair of Antique French Porcelain and

Gilt Bronze Carcel Lamps, 19th c., with gilt and enameled decoration, quadripartite base mounted with Classical portrait medallions, cut crystal font, electrified, overall height 32 in., diameter 6 1/2 in. $500/700

1041

1040

1043. A Continental Orientalist Patinated and Polychromed Bronze Lamp, early 20th c., depicting a Bedouin on a camel and a maiden carrying water, rockwork base, height 18 3/4 in.

1043

1044

1044. A Neoclassical Bronze of “The Apollo Belvedere”, 20th c., a reduction after the life-size Roman antiquity in the Belvedere Courtyard of the Vatican Museum, height 19 3/4 in. $1000/2000

$1200/1800 W denotes the lot is illustrated at www.nealauction.com

205

1045

1047

1046 (1 of a pair)

1048. A French Renaissance Revival Gilt Bronze Mantel Clock, mid-19th c., urn finial, dial with porcelain numeral plaques, flanked by female terms with feather headdresses, the shaped base with bold, acanthus scrolled legs, centered with lion mask, height 21 3/4 in., width 17 in., depth 10 in. $1000/1500 1049. A Pair of Antique Louis XV-Style Carved Walnut Fauteuils, shaped back, padded arms, cabriole legs. $1200/1800

1048

1045. A Belle Époque White Marble Relief of a Maiden Caressing Two Deer, unsigned, height 25 in., width 12 1/2 in.

1049

$700/900

1050. A Northern European Painted Desk, 19th c., kneehole configuration of drawers, square tapered legs, retaining original paint, height 31 in., width 44 in., depth 25 in. $1000/2000

1046. A Pair of Large RégenceStyle Carved Giltwood Mirrors, foliate brackets and moldings, height 86 in., width 45 in.

W 1051. Marcel Andre

Baschet (French, 18621941), “Portrait of a Terrier”, 1900, oil on canvas laid on board, signed, dated, and inscribed lower left, 10 in. x 8 in., framed.

$1500/2500 1047. A French Giltwood Overmantel Mirror, 19th c., with floral incised decoration and beadwork, height 54 in., width 37 1/2 in. $600/900

206

$500/700

1050

1052. French School, late 19th/ early 20th c., “Cabaret Girl and Entourage”, oil on canvas, unsigned, faint collector’s seal en verso, 21 1/2 in. x 25 3/4 in.

W 1061. A Pair of Continental

Gilt Bronze and Crystal ThreeLight Girandoles, tapered standard with foliate supports, hung with prisms, on white marble bases, height 16 in., width 16 in., depth 6 in.

$800/1200 Provenance: Private Texas Collection, 1993.

$400/600

W 1053. Salvador Dali (Spanish,

1062. An Aesthetic Movement Gilt Bronze and Jeweled Stand, c. 1890, pierced foliate and scrolled frieze, mounted with cabochon semiprecious stones, on paw feet, height 5 1/2 in., width 10 3/4 in., depth 10 3/4 in.

1904-1989), “Les Indolents” and “Les Orguilleux” from the Divine Comedy series, two color lithographs, each signed and numbered, titled en verso, each sight 12 1/2 in. x 8 3/4 in., framed. 1052

$600/900

W 1054. Victor Vasarely

(Hungarian/French, 1906-1997), “Constellations”, 1971, serigraph, pencil-signed lower right, numbered 58/150, tutled and dated on Gallery M Inc., Farmington, Connecticut label en verso, sight 28 in. x 14 in., matted and framed.

1063. A Vienna Cold Painted Bronze Desk Clip, late 19th/early 20th c., running setter figure on original spring mounted mechanism, on rectangular mahogany molded base, overall height 3 in., length 12 1/2 in., width 5 in.

$500/700

$800/1200 Provenance: Longwood Plantation, built c. 1785, East Baton Rouge Parish, LA.

W 1055. Jean Cocteau (French,

1062

1892-1963), “Sylva”, 1956, lithograph, monogrammed and dated in plate, pencilmonogrammed lower right, sheet size 16 1/4 in. x 12 5/8 in., float matted and framed.

W 1064. Six American

Sterling Silver Tea Strainers, various makers including Webster, Wallace, Currier & Roby and the Merrill Shops, assorted single handles and one double handle, combined weight 5.90 troy ozs.

$400/600

$200/300

W 1056. Claes Oldenburg

(Swedish/American, b. 1929), “Symbolic Self Portrait with Equals”, lithograph, pencil-signed lower right, numbered 83/100, sight 27 3/4 in. x 20 1/4 in., framed. $300/500 W 1057. Ben Shahn (American, 1898-1969),

“To Days of Childhood”, 1968, lithograph printed in color, signed in red brush lower right, titled and dated on Kennedy Galleries, Inc., New York label en verso, sight 22 in. x 15 3/4 in., framed. $500/700

1063

W 1065. A Pair of

W 1059. An Antique

Mason’s Ironstone “Imari” Palette Chamber Pot, marked, faceted tapering bucket-form body with circular handles, inset with pierced bowl, height 12 3/4 in., width 15 1/2 in. $300/500 Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA.

Continental Gilt and Enameled Green Glass Lustres, 19th c., scrolled acanthus decoration, prisms, height 12 1/2 in. $400/600 W 1066. An American Gilt Lacquered Brass

and Bronze Solar Lamp, c. 1847, Cornelius & Co., Philadelphia, labeled font atop fluted columnar standard, stepped marble base, cut and etched glass shade, prisms, electrified, overall height 22 in. $250/500

W 1058. An Antique English Ironstone

Platter, 19th c. Imperial Stone China, “Penang” pattern, now mounted in a bamboo-turned mahogany stand as a side table, platter length 20 3/4 in., overall height 21 in., width 23 3/4 in., depth 20 in. $300/500 Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA.

W 1060. A Pair of Walnut

Picture Frames, with ebonized and gilt detail, sight height 27 1/4 in., width 35 1/4 in. $400/600

W denotes the lot is illustrated at www.nealauction.com

207

1067. An American Gilt Lacquered Brass and Bronze Solar Lamp, 19th c., attributed to Starr, Fellows & Co., New York, identified as item No. 301 in the 1856 catalogue, font atop fluted columnar shaft, marble base, period etched and cut shade, with chimney and crystal prisms, overall height 24 1/2 in.

1069. An English Carved and Burled Walnut Canterbury, 19th c., three compartments with openwork lyre dividers, gilt rosette mounts, drawer below, turned legs, casters, height 19 in., width 21 1/2 in., depth 14 in.

1068

$300/500 1070. A George III-Style Carved Mahogany Secretary Desk, antique and later, upper case with dentil molded cornice over paneled doors, shelf interior; lower case with fall front opening to inset tooled leather writing surface and well fitted interior, four graduated drawers below, bracket feet, height 85 in., width 41 in., depth 23 1/2 in.

$800/1200 Reference: Gowitt, Gerald. 19th Century Elegant Lighting. 2002. p. 102.

1067

$800/1200 1069

1071. An American Classical Carved Mahogany Sécrétaire à Abattant, early 19th c., attributed to Henry Connelly, Philadelphia, turreted top, fall front lid, fitted interior with inset leather writing surface, paneled doors below, fluted columnar stiles, paneled sides, double wheel casters, height 52 1/2 in., width 42 in., depth 15 in. $500/750

1070

1068. An American Inlaid Mahogany Hanging Étagère, 20th c., William A. Berkey Furniture Co., Grand Rapids, labeled, scalloped gallery over three shelves, flanked by pierced brackets over two shelves, reticulated uprights, mirrored back, three drawers below, height 29 5/8 in., width 42 in., depth 7 3/8 in. $500/700

208

Note: The case of this abattant relates to known examples designed for the historic Upsala mansion in Mount Airy, Philadelphia, PA. 1071

1072

1073

1075

1072. An American Classical Carved Mahogany Sleigh Bed, early 19th c., scrolled and paneled head and footboards, bracketed rails, height 38 1/2 in., length 76 in., width 54 in.

1074. An American Gothic Carved Mahogany Hall Chair, mid-19th c., urn finials, arched crest with quatrefoil reticulation, padded back flanked by barley-twist uprights, conforming legs joined by stretchers, casters. $600/900

$700/1000 1073. Gaston Sébire (French, 1920-2001), “Petite Plage”, oil on canvas, signed lower right, signed, titled and with a Wally Findlay Galleries label en verso, 7 3/4 in. x 18 3/4 in., original giltwood frame. $1500/2500

1074

1075. An American Late Classical Carved Mahogany Dressing Chest, c. 1830, superstructure with mirror and three drawers; base with bolectionmolded drawer above 1076 three graduated drawers and blind drawer, all flanked by tapered columns, turned feet, height 78 in., width 46 in., depth 24 in. $800/1200 1076. An American Classical Carved Mahogany Work Table, early 19th c., Philadelphia, torus molded drawers, acanthus-carved stem, incurvate plinth, acanthus paw feet, height 30 in., width 19 in., depth 15 1/2 in. $500/750 W denotes the lot is illustrated at www.nealauction.com

209

1077. An American Classical Carved Walnut Bookcase, mid19th c., probably Southern, arched crest centered by a cabochon, urn finials, four paneled and glazed doors enclosing shelves, plinth base fitted with two drawers, bracket feet. $1200/1800 Provenance: The Barrow/Brandon/ Bedgood House at Greenwood Plantation, Pinckneyville, MS. 1077

1079

1078. An American Late Classical Carved Mahogany Sofa, mid-to-late 19th c., arched crest terminating in acanthus and rosettes, acanthus scrolled arms, bolsters faced with rosettes, cornucopia brackets, paw feet, height 40 in., width 96 in., depth 25 in. $800/1200

1078

1079. An American Late Classical Carved Mahogany Secretary Bookcase, c. 1840, upper case with cove molded cornice, glazed doors, three drawers below; lower case with fitted escritoire drawer, paneled doors flanked by S scrolls, molded base, scroll feet, height 81 in., width 48 in., depth 27 in. $800/1200 W 1080. A Pair of American Rococo Carved

Rosewood Side Chairs, mid-19th c., floral crest rail, molded cabriole legs, casters. $300/500 1081. A Set of Eight American Classical Mahogany Side Chairs, 19th c., tablet crest, medial rail, saber legs. $1000/1500 W 1082. An American Rococo Carved

Mahogany Piano Stool, mid-19th c., turned stem, C and S scroll legs. $250/350

1081

210

1083. An American Painted Corner Cupboard, stepped cornice over paneled doors, shelf interior, bracket feet, found in worn blue paint, height 76 in., width 54 1/2 in., depth 29 in. $1000/1500 1084. A Rare Victorian Carved Walnut Watchmaker’s Work Bench, late 19th c., galleried top with square inset marble and drilled for mountable lathe, frieze with three drawers over paneled doors and graduated drawers, plinth base, height 38 in., width 37 5/8 in., depth 21 in. Note: lacking lathe.

1085

$700/1000 1085. A Carved and Inlaid Folk Art Side Table, the top with geometric designs and stars, incised legs, stretcher shelf, height 30 1/2 in., width 18 1/2 in., depth 15 1/2 in.

1083

$600/900 1086. An American Victorian Carved Mahogany Candlestand, ring and baluster turned stem, arched legs, scrolled toes, height 29 in., width 17 in., depth 20 in. $250/500 W 1087. An Antique American

Painted Corner Étagère, graduated tiers, tapered supports, turned feet, old paint surface, height 68 in., width 34 in., depth 20 3/4 in.

1086

$400/600 W 1088. A French West Indies

Carved Mahogany and Cedar Garde-Manger, c. 1900, shaped backsplash, paneled and screened case on square legs, height 51 1/4 in., width 32 1/4 in., depth 15 3/4 in.

1084

1090. An American Bronze Fire Insurance Plaque, early 19th c., with enameled lettering reading “Friendship/Inst.Augst.18th/1796”, height 8 1/8 in., length 11 1/2 in. $700/1000

$250/500 1089. An American Carved Walnut Cradle, 19th c., possibly Shenandoah Valley, scalloped headboard and footboard, dovetailed construction, height 23 1/2 in., length 40 in., width 22 in.

1090

$300/500 1089

W denotes the lot is illustrated at www.nealauction.com

211

W 1094. A Cast Iron Sugar

Kettle, 19th c., marked “warranted 45 gal”, flared lip, knop handles, rounded body, height 18 1/2 in., diameter 34 in. $600/900 1093

1097

1095

1096

W 1091. A Set of

1095. A Pair of American Cast Iron Garden Benches, backs with intertwined rosettes, scrolled arms, serpentine pierced seats, acanthine cabriole legs, height 32 1/2 in., width 44 in., depth 14 1/2 in.

Three American Classical Giltwood Cornices, 19th c., height 5 1/2 in., lengths 39 in., 43 in., and 48 in., depth 6 1/2 in.

$1200/1800

$500/700

1096. A Neoclassical-Style Carved Marble Center Table, circular top with bull nose molded edge, baluster support on circular foot, height 30 in., diameter 31 1/2 in.

W 1092. An

$400/600

American or English Brass Newel Post Gas Lamp, late 19th c., columnar upright with knight’s helmet finial, two arms ending in fixtures with glass globes, now electrified, height 27 1/4 in. $200/400

212

1098

1093. An American Blown and Cut Glass Flycatcher, with bamboo decoration, applied feet, blown spherule stopper, height 9 1/4 in., diameter 8 1/2 in. $400/600

1097. A Pair of American Cast-Iron Garden Urns, 19th c., campagna form, with remnants of green paint, height 17 in., diameter 12 3/4 in. $600/900 1098. An Antique American Cast Iron Indigo Pot, 19th c., flared rim, height 19 in., diameter 33 in. $1200/1800

1099. An American Cast Iron Plantation Bell, 19th c., marked “The C.S. Bell Co., Hillsborough, O. (Ohio)”, complete with uprights, diameter 18 in.

W 1104. An American Southern Polychrome

W 1107. A William Flowers Art

Fireboard, “Two Cabins on an Inlet”, oil on composition board, unsigned, presented in dark stained pine frame, overall height 35 1/8 in., width 38 in.

$1000/1500

Provenance: Found in Mobile, AL.

Provenance: Fort Adams, Wilkinson County, MS. Now an abandoned riverport, Fort Adams was the United States’ port of entry on the Mississippi River prior to the acquisition of New Orleans.

W 1105. A Spanish Colonial Carved and Bent

Pottery Glazed Stoneware Jug, 20th c., “Forbidden Fruit Jar”, marked in sgraffito on side “WA Flowers/ Forbidden Fruit Jar”, the figured stopper of Eve holding an apple with three arched handles intertwined with the serpent, height 28 in.

$500/700

Wood Cradle, with hide and cotton lashings, height 18 1/2 in., width 13 1/2 in., depth 28 in. $300/500

1100. A Large Bronze Figure of an Alligator, head turned, jaws open, height 25 1/4 in., length 70 3/4 in., width 26 1/2 in.

Provenance: With Medicine Man Gallery, Tucson, AZ and Santa Fe, NM; to current owner.

$1500/2500

W 1109. A New Orleans

Blue Transferware Platter, 19th c., with hunting scene, marked “Hill and Henderson/Importers/ New Orleans”, length 16 1/2 in., width 13 1/8 in.

$300/500 Provenance: Estate of James P. Raymond (1931-2011). W 1102. Justinian

$200/300

1099

Trudeau (American/ New Orleans, 18271875), “Portrait of a Young Boy with Curls”, 1851, plaster bust, incised signature and date en verso, height 17 in., width 10 in., depth 5 in.

W 1110. Two Porcelain

Figures, including a late 18th c. Derby figure of Old Father Time, marked “JW No. 222”, height 7 in.; and a candlestick with a putto, impressed “Germany 75 4 29”, marked blue underglaze, possible Schierholz and Sons, c. 1880-1906, height 8 3/4 in.

$500/700

W 1103. Three Vargas Wax

Figures of African-Americans, early 20th c., including “The Banjo Player”, “The Crab Seller”, and “The Cotton Seller”, one marked “Genuine VARGAS, New Orleans, LA”, height 6 1/2 in., all in matching modern glass domes with wood bases. $1000/1500

Morte: Mallard” Enameled Plaque, late 19th/early 20th c., conjoined monogram “GT” lower right, sight 17 1/4 in. x 10 1/2 in., period oak frame. Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA.

(American/Tennessee 1910-2002), “Pheasant”, carved and painted wood, unsigned, height 27 1/2 in., length 48 in., width 13 in.

Reference: Mahe, John A. and Rosanne McCaffrey, eds., Encyclopaedia of New Orleans Artists, 1718-1918, The Historic New Orleans Collection, 1987, p. 381.

W 1108. An American “Nature

$400/600

W 1101. Homer Green

Note: Born in New Orleans, Trudeau was listed in the City Directories as a sculptor working from 1849 to 1868. In 1851, he shared a studio with the portrait artist Hortaire Guenard on Camp Street. The Maryland Historical Society holds a bronze bust of General Zachary Taylor by Trudeau in their collections.

$800/1200

$600/900 1100

W 1111. A Set of Eight

W 1106. After George Louis Viavant (American/

New Orleans, 1872-1925), “Hanging Mallard Drake”, “Hanging Mallard Hen”, “Hanging Gadwall Drake”, “Hanging Blue Wing Teal Drake”, “Hanging Canvasback Drake” and “Hanging Hare”, photolithographs published by Upton Printing, New Orleans, c. 1970 for the Tally-Ho club, all signed in plate, four title printed in margin, four 33 in. x 23 3/4 in. and latter 32 in. x 16 3/4 in. all unframed.

English Aesthetic Movement Lobed Dessert Plates, c. 1875, pink ground, with raised gilt decoration, hand-painted with foliage and butterflies, marked “2470” verso, diameter 9 in. $500/700 Provenance: Bernard M. Caperton Antiques, Charlottesville, VA, 1982.

$500/700 Provenance: Acquired from the artist’s son, James Viavant, c. 1980. Reference: Jordan, George E., George L. Vivant: Artist of the Hunt, The Historic New Orleans Collection: New Orleans, 2003, pp. 105-111.

W denotes the lot is illustrated at www.nealauction.com

213

W 1115. A Pair of Paris Porcelain Parcel Gilt Potpourri Urns, with

landscape reserves, floral swag on paw feet, square base, height 5 in. $400/600 1116. A Pair of Paris Porcelain Polychrome Flare Vases, 19th c., floral and figural stag decoration, height 17 1/2 in. $400/600 W 1117. An Extensive Mottahedeh Porcelain “Golden Butterfly”

Service, 20th c., polychrome and gilt decoration in the Chinese Export style, comprising 16 dinner plates, 16 luncheon plates, 13 soup plates, 13 coffee/tea cups, dinner plate diameter 10 1/8 in. (58 pcs.) $600/900 Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA. 1118. A Persian Bakhtiari Carpet, camel ground with ochre and rust accents, center medallion, repeating floral borders, 6 ft. 8 in. x 10 ft. 4 in. $1800/2500

1116

1113

W 1112. Two Brazilian

“Gemstone” Trees, naturalistic rock bases issuing gilt metal wrapped trunks and branches with tumbled “gemstone” leaves, one emerald quartz, the other amethystine quartz, height 13 1/4 in. and 12 1/2 in. $300/500 Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA. 1113. A Louis XVIStyle Carved, Painted and Gilt Parlor Suite, comprising a canapé and pair of bergères, each with floral carved crest, acanthine arms, rounded seat rail, fluted tapered legs, settee height 36 in., width 50 1/2 in.

1118

1119

$800/1200 W 1114. A Sèvres-Style Bronze-Mounted Polychrome Porcelain

1119. A Persian Rug, yellow, green, blue and red, with geometric and stylized floral motifs, 5 ft. 9 in. x 7 ft. 8 in.

Vase, reserved with birds, height 10 1/4 in., width 6 1/4 in.

$1200/1800

$600/900

Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA.

214

1122 1123

W 1121. A Semi-Antique Runner, red, blue, cream

ground, with repeating gul medallions, 2 ft. 9 in. x 9 ft. 10 in. $600/900 Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA. 1122. A Persian Heriz Carpet, red ground with a central medallion, light spandrels, border with repeating medallions, 9 ft. 9 in. x 13 ft. 1 in. $4500/6500 1123. A Persian Heriz Carpet, ecru ground with stylized repeating flora with accents in light blue, rust, and green, with a dark border, 14 ft. 3 in. x 19 ft. 9 in. $10000/15000 1124. A Persian Kararjeh Runner, red ground, repeating medallions, 2 ft. 7 in. x 23 ft. 3 in. 1125

W 1120. A Fine Prayer Rug, densely woven, green

ground, architectural design, 4 ft. x 2 ft. 7 in.

$1500/2500 W 1127. An

1125. A Kerman Rug, central field with red and blue ground, overall vining, floral design, 9 ft. 10 in. x 13 ft. $800/1200

$600/900 Provenance: Estate of James P. Raymond (1931-2011), New Orleans, LA.

1124

W 1126. A Persian Carpet, red and navy ground,

central medallion, stylized floral border, 7 ft. 8 in. x 11 ft. 2 in. $600/900

Antique French Gilt Metal Hall Lantern Frame, ovoid with applied acanthus, fruit pendant, height 39 in., diameter 25 in. $800/1200

W denotes the lot is illustrated at www.nealauction.com

215

1129

1130

W 1131. Eugene Edouard Soules

(French, 1811-1876), “On the Shore”, watercolor on paper, signed lower right, 6 3/4 in. x 11 in., matted and framed. $300/500 Provenance: Christie’s, New York, January 7, 1981, lot 212; Estate of James P. Raymond (1931-2011), New Orleans, LA. 1132. Charles van den Eycken II (Belgian, 1859-1923), “Portrait of a Kitten”, oil on panel, signed lower left, 6 1/2 in. x 5 in., framed. $600/800 1132

1133

1129. An Antique English Carved Oak Kidney-Shaped Desk, late 19th c., rocaille carved top, kneehole configuration of drawers, paw feet, height 31 in., width 48 1/2 in., depth 24 in. $700/1000

1134

W 1128. An American Renaissance Carved Savonarola

Chair, c. 1900, foliate pierced crest centered by a lion’s masque, curule seat with rosette. $150/250

216

1130. An English Carved Mahogany Dining Table, mid19th c., with molded apron, turned and tapered reeded legs, cup casters, opening to receive three leaves, height 30 in., length 48 in., width 51 in., extended length 120 in. $800/1200

1133. Henriette Ronner (Dutch/ Belgian, 1821-1909), “Dog Chasing a Fly”, 1891, oil on panel, monogrammed and dated lower right, 7 1/2 in. x 9 in., framed. $600/800 1134. An American Late Classical Mahogany Slipper Settee, c. 1840, serpentine crest, tufted silk upholstery, molded seat rail, half-round feet, height 29 1/2 in., width 42 1/2 in., depth 22 in. $500/800 W 1135. An American Southern

Carved Pine Washstand, c. 1830, galleried top, single drawer, ringturned vasiform legs, stretcher shelf, height 33 in., width 28 1/4 in., depth 19 in. $300/500

W 1136. A Pair of Renaissance

Revival Gilt Bronze Three-Light Chandeliers, each with shell and foliate corona, circlet mounted with winged allegorical women, dragon-form supports with glass shades, height 41 in., diameter 22 in. $800/1200 1137. Sidney Edward Dickinson (American/New York, 1890-1980), “Portrait of Augusta Whittlesey Patton”, 1938, oil on canvas, signed and dated upper right, 15 3/8 in. x 13 1/8 in., in a period frame. $1000/1500 1138. Thomas Waterman Wood, N.A. (American, 1823-1903), “Family Scene”, oil on canvas, signed lower right, 22 in. x 27 1/4 in., framed.

1137

$3000/5000

1141 (1 of a pair)

Note: One of the most popular American artists of the 19th century, Thomas Waterman Wood began his career as a portraitist, painting not only wealthy white patrons, but also the free African-Americans who worked for a living on the streets of Baltimore. He continued this work in Kentucky throughout the Civil War, after which he turned his attention to genre painting in New York City. Although he changed the subjects of his paintings, distinct similarities in his technique can still be noted, as well as the common theme, throughout his oeuvre, of the dignity of man regardless of age, wealth, or race. W 1139. A Pair of Paris

W 1142. A Continental

Patinated Metal Pedestal, 19th c., with elaborately cast top, flared cylindrical shaft and ogee foot, height 35 3/4 in., width 12 in., depth 12 in. $200/400 W 1143. A Pair of Neoclassical-

1138

Porcelain Polychrome and Gilt Cachepots, mid-19th c., raised gilt cartouches with black ground, floral sprays throughout, reeded band with lion’s mask handles, height 7 in., width 8 5/8 in.

Style Polished Brass Urns, with ram’s head and laurel wreath handles, tapered form on circular base, decorative banding at shoulder, height 14 1/2 in. $500/700 W 1144. A Vintage Louis Vuitton

Suitcase, c. 1940, serial# 748896, leather trim, with “LV” stamped logo, lockplates marked, interior with removable tray, bears remnants of old ocean liner labels and painted monogram “J.K.F.derP”, length 24 in., width 15 in., depth 8 1/2 in.

$500/750 W 1140. Three Aesthetic Gilt

Cornices, late 19th c., with incised frieze, height 6 1/2 in., width 50 in., depth 6 1/2 in.

$800/1200

$300/500

1145. A Large American Carved Giltwood Overmantel Mirror, 19th c., cove-molded frame, laurel leaf border, height 50 in., width 45 1/2 in.

1141. A Pair of Baroque-Style Wrought Iron and Tôle Lanterns, foliate scrolled frame inset with etched glass panels, height 56 in.

$700/1000

$2500/3500 1145

W denotes the lot is illustrated at www.nealauction.com

217

W 1149. An American Folk Art

Crazy Quilt, mid-20th c., assorted fancy fabrics, embellished with embroidery, buttons, jewelry pieces and found objects, bordered in black velvet and backed with duck-printed cotton, 112 in. x 98 in. $300/500 1150. Colette Pope Heldner (American/New Orleans, 19021990), “Swamp Idyll (Louisiana Bayou Country)”, oil on canvas, signed lower left, signed and titled en verso, 48 in. x 24 in., framed. $1800/2500

1147

Provenance: Acquired from the artist by the current owner. W 1151. Southern School, mid-to-

late 19th c., “Portrait of a South Carolina Lady”, oil on canvas, unsigned, 24 in. x 20 in., original oval gilt frame.

1150

$600/800 1152. American School, late 19th/early 20th c., “Farmhouse on Water’s Edge”, oil on canvas, signed lower right “W. Ross(i?)”, 16 in. x 20 in., in a period gilt frame. $1200/1800 Provenance: Collection of Martha Ann and Ray Samuel, New Orleans, Louisiana.

1148

1152

W 1146. An American Carved and Gilded

Overmantel Mirror, 19th c., floral surround, wreath blocks, height 41 in., width 71 3/4 in. Note: Lacks crest. $700/1000 1147. A Rouge Griotte Marble Mantel, molded top and surround, overall height 42 7/8 in., width 49 3/4 in., depth 13 7/8 in.

$500/700

$300/500 1148. An American Classical Carved Mahogany Four Poster Bed, c. 1830, carved posts, shaped headboard, plain rails, later tester, height 88 in., interior length 74 in., interior width 52 in. $800/1200 Provenance: Mary Plantation, Plaquemines Parish, LA.

218

1153. Georgia Harris (American/ Mississippi, 1903-1978), “Fields of the Delta”, 1940, gouache, signed and dated lower left, 9 in. x 11 in., framed.

1153

W 1154. Robert Nisbet, A.N.A.

(American, 1879-1961), “Pec Horn Farm, St. Cloud, Florida”, graphite and crayon on paper, signed lower right, signed and titled on label en verso, 9 in. x 11 3/4 in., matted. $300/500 W 1155. Ethel Hutson (American/New

Orleans, 1872-1951), “November in the Cane-Brake”, pastel on paper, unsigned, Arts & Crafts Club label with artist information and title en verso, Farish Art Store, New Orleans label en verso, sight 7 1/2 in. x 10 3/4 in., period frame. $300/500

1156

1156. Richard Burrell Brough (American/Mississippi, 1920-1996), “Horse and Carriage on the Country Road”, acrylic on canvas, signed lower right, 30 in. x 36 in., framed. $1000/1500 1157. Richard Burrell Brough (American/Mississippi, 1920-1996), “Peach Tree, Alabama”, acrylic on canvas, signed lower right, title and artist label en verso, 24 in. x 30 in., framed. $800/1200 1158. Laurence Edwardson (American/New Orleans, 1904-1995), “Hats & Caps! (Congress Hat & Cap Store, New Orleans)”, oil on masonite, signed lower left, signed and titled en verso, 20 in. x 24 in, framed.

1157

1163

$1000/1500 W 1162. Jeffrey Noel

W 1159. Henry Alexander Ogden

(American/Louisiana, 20th c.), “Basin Street Down the Line, New Orleans”, 1960, lithograph, pencil-signed and dated, titled in plate, sight 10 1/2 in. x 16 1/4 in., framed.

(American, 1856-1936), “Sale of Louisiana”, pencil drawing, signed lower right, titled upper left, inscribed upper right, mid-right and en verso, 8 1/2 in. x 4 3/4 in., matted. $300/500 Note: Known as an illustrator of historical and military subjects, Henry Alexander Ogden worked for a variety of newspapers and journals including Frank Leslie’s Illustrated News. An authority on early military uniforms, Ogden illustrated Uniforms of the United States Army, Regulations for the Uniform of the Army of the United States, and The Pageant of America. W 1160. Ruth Robertson Fontenot

(American/Louisiana, 1914-1995), “Ashland Plantation, Port Allen, Louisiana”, 1981, watercolor, signed and dated lower right, sight 13 1/2 in. x 19 in., framed. $400/600

$400/600 Note: This print was based on the famous vintage photograph of Basin Street. 1158

W 1161. Anne Goldthwaite (American/Alabama,

1869-1944), “Vieux Carré, New Orleans, Royal Street”, c. 1923, etching, pencil-signed lower center, image 4 15/16 in. x 3 15/16 in., period Art Nouveau frame. $200/400 Note: Listed as No. 214, in Anne Goldthwaite: A Catalogue Raisonné of the Graphic Work by Adelyn Dohme Breeskin, Montgomery Museum of Fine Arts, 1982, p. 96.

1163. After Walter Inglis Anderson (American/ Mississippi, 1903-1965), “The Frog Princess #1”, handcolored linocut on paper mounted to board, unsigned, 75 1/8 in. x 20 1/2 in., matted and framed. $500/700 Provenance: Private Collection, Texas, 1980.

W denotes the lot is illustrated at www.nealauction.com

219

1167. A Newcomb College Art Pottery Matte Glaze Bowl, 1927, decorated by Anna Frances Simpson, with a relief carved design of narcissus, blue, green and pink underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, shape no. 171, and reg. no. QP83, height 4 1/2 in., diameter 10 5/8 in. $700/1000 W 1168. A Van Briggle Art Pottery

Vase, in the “Lorelei” form, aubergine and green glaze, marked logo, “Van Briggle/ Colo Spgs/ HM”, height 10 3/4 in. $200/400 1164

1166

1165

1169. Donald J. Mackey (American/New Orleans, 20th c.), “600 Ursulines”, “Esplanade and Decatur Street”, and “Stop— Bourbon Street, New Orleans”, 1954, three mixed media works on paper, all signed, monogrammed, and dated in plate lower right, pencilsigned and titled on mat boards, sight 10 1/2 in. x 14 1/2 in, 11 1/2 in. x 15 1/2 in., and 10 1/2 in. x 14 1/4 in. respectively, framed.

1169 (1 of 3)

$800/1200

1167 1170 1164. A Shearwater Pottery Mug, c. 1935, thrown by Peter Anderson, decorated by Walter Anderson with ducks in flight, in black and white slip, marked in sgraffito, height 3 1/2 in. $800/1200 1165. A Shearwater Pottery Ashtray, c. 1935, thrown by Peter Anderson, decorated by Walter Anderson with three fish, black, white and brown slip, ink stamp mark, diameter 5 1/2 in. $800/1200

1166. A Shearwater Pottery Vase, c. 1965, with alkaline blue and green glaze, impressed quarter size mark, height 8 1/2 in., diameter 4 3/4 in. $300/500

Note: Born in Waukegan, Illinois, Donald Mackey studied at the Chicago Art Institute. In 1941 he was stationed in Louisiana with the U.S. Army. In the 1950s, he worked as an instructor at the John McCrady Art School on Bourbon Street in the French Quarter. At this time, Mackey created these charming handcolored images of street life of the historic area. 1170. George Benjamin Luks (American, 1867-1933), “Landscape”, graphite on paper, unsigned, Washington Irving Gallery, NY label en verso, 7 1/4 in. x 9 3/6 in., framed. $300/500

220

W 1171. William H.

Bailey (American, b. 1930), “Still Life”, 1982, lithograph, pencil-signed and dated lower right, artist’s proof, image 18 in. x 14 in., framed. $300/500 W 1172. William

Wallace Rosenbauer (American/ Pennsylvania, 19001968), “Belgian Water Dog”, bronze, signed and inscribed “Pepper/ April 1927” on self-base, on a verde antico plinth, height 8 1/2 in.

1173

1176 (1 of 2)

$200/400 1177. Sallie Girday (American, 20th c.), “Rural Landscape, possibly the Blue Ridge Mountains”, oil on canvas, signed lower right, 20 in. x 28 in., framed.

1173. William Woodward (American/New Orleans, 1859-1939), French Quarter Etchings of Old New Orleans, (New Orleans: The Magnolia Press, 1939), portrait frontispiece and 14 full-page plates after etchings, quarto, red half morocco leather and grey cloth binding with gilt lettering on spine.

$500/700 Provenance: Southern Art Collection of Steven Cabot Barnes Harvey. W 1178. American School, late 19th/

early 20th c., “Lighthouse at Dusk”, oil on canvas, unsigned, 9 in. x 11 3/4 in., period gilt frame.

1175

$400/600

$300/500

W 1179. Rowland Scherman (American,

born 1937), “Tree and Fence”, “Tree in Landscape”, “Path in a Stand of Trees”, and “Tree in Snow”, four silver gelatin prints, 11 in. x 15 1/4 in. the former, and the latter three, 8 in. x 11 in., framed.

W 1174. Hinderer’s

Iron Works Broadsides, 18901901, catalogues # 7, 8 and 9, printed by Jos. Levy & Bros., 524 Common St., N.O., each with four pages of illustrations of urns, fences, lawn furniture, fountains, decorative and drinking fountains, hitching posts, statues, etc., some gate examples shown include City Park, Sisters de Notre Dame and St. Joseph’s Academy, each page 25 in. x 19 in. $500/700 1175. Jack Meyers (American/ New Orleans, 1930-1994), “Saturday Bath”, 1970, acrylic on canvas board, signed lower left, signed, titled and dated en verso, 5 in. x 7 in., framed.

$800/1200 W 1180. Rowland Scherman (American,

born 1937), “Overpass”, and “One Way”, two silver gelatin prints, 12 1/2 in. x 17 1/2 in. and 6 in. x 8 in. respectively, framed. $400/600 1177 W 1181. A Group of Three Georgia Works

1176. Amos Lee Armstrong (American/Louisiana, 1899-1969), “Cabin in Louisiana Piney Woods”, 1945, and “Louisiana Water Hyacinths”, two oils on board, both signed lower right, the former titled and dated en verso, the latter with artist’s biography, 23 in. x 19 1/2 in. and 19 3/4 in. x 25 3/4 in. respectively, framed. $1200/1800

of Art, comprising Frances Lee Turner (18751945), “Two Row Boats”, oil on artist board, signed lower right, 22 1/2 in. x 28 in., framed; Robert Stockton Rogers (1896-1959), “Landscape, Near Beverly Hall”, watercolor on paper, signed lower right, sight 21 1/4 in. x 29 1/4 in., matted and framed; and Myrtle King Jones (1913-2007), “Still Life with Conch”, pastel on paper, unsigned, 16 5/8 in. x 22 5/8 in., matted and framed. $600/900 Provenance: From the noted Southern Art Collection of Steven Cabot Barnes Harvey.

$800/1200 W denotes the lot is illustrated at www.nealauction.com

221

1183. American School, late 19th/early 20th c., “Birch Trees”, oil on canvas, signed “Kramer” lower right, 12 in. x 24 in., period gilt frame. $500/700 W 1184. Southern School, early

20th c., “The Out Skirts of Town”, oil on canvas, unsigned, 9 in. x 11 3/4 in., period gilt frame. $400/600 W 1185. Xavier de Callatay

(Belgium/New Orleans, 19321999), “Six Egrets”, 1961, watercolor, signed, dated and inscribed “por Henri” lower right, sight 13 3/4 in. x 19 3/4 in., framed.

1182

$300/500 Provenance: Gift from the artist to current owner.

1182. Franklin C. Courter (Michigan/New Jersey, 18541947), “Portrait of a Lady” and “Portrait of a Gentleman”, 1889, pair of oils on canvas, each signed lower left, wife dated, 27 in. x 22 in., framed alike.

1186. Carl Robert Holty (American, 1908-1973), “Guardian Angel”, 1947, oil on canvas, signed lower left, titled and dated, and with Peyton Wright, NM Gasllery label en verso; 38 in. x 30 in., framed. $2000/3000 Note: Carl Robert Holty was a noted avantgarde artist. He attended the Art Institute of Chicago and the Parsons School before traveling to Munich and then Paris. But it was in 1935 when he returned to the United States to work with his friend Stuart Davis that he became and innovative leader of the American abstract movement, chairing the American Abstract Artists Group. Shortly before his death he was honored with a retrospective of his art at City University in New York in 1972.

$1000/1500 1183

1187. Forrest Harrisberger (American, late 20th c.), “Father of Our Country”, 1969, oil on masonite, signed and dated lower right, signed and titled en verso, 42 in. x 36 in., framed. $1000/2000

1186

222

1187

1188. A Good American Patinated Bronze Revolutionary Militiaman, 19th c., probably a “Zouave” rifleman from New York, resting on a tree stump, on a later marble base, overall height 10 1/2 in., width 8 1/2 in., depth 6 1/4 in. $500/750 1189. Frank Eliscu (American, 1912-1996), “Portrait of General Omar Bradley”, mid-20th c. bronze, signed, overall height 16 in., width 10 in., depth 7 1/2 in., black marble base. $800/1200

1188

1190. An American Gilt and Gessoed Pine Looking Glass, c. 1835, églomisé panel depicting seated woman in Empire dress, mirror plate below, height 37 1/4 in., width 19 3/4 in.

1190

$400/600 W 1191. An American Rococo Carved

Mahogany Dressing Mirror, mid-19th c., shaped frame retaining original mirror plate, acanthus scroll supports, serpentine base, scroll feet. $200/400 W 1192. A Winchester 44 Caliber

Rifle, marked on top of barrel “Winchester’s Repeating Arms, New Haven, Conn., USA/King’s Improvement Patented March 29, 1886, October 16, 1860, serial number # 237076B, octagonal barrel length 23 1/2 in., with modern leather case.

1189

$700/1000

1196

W 1195. An Antique Belgian Double Barrel

Shot Gun by Henri Pieper, 19th c., marked “H. Pieper” on lockplates, damascus steel barrels, serial # 58953, with engraved scroll and floral decoration, barrel length 30 in.

1193

1193. A Fine Combination Rifle/ Shotgun by Karl Werlik, mid-19th c., inlaid in gold “K. Werlik in Teschen” on top of damascus steel barrels and on lockplates, fine engravings of hunting scenes and floral patterns, carved horn finger rest, length of brown-finished barrels 27 in. $800/1200

$300/500 W 1194. A Marlin Ballard Falling

Block 22 Caliber Rifle, with octagonal barrel, together with a W.C. Scott & Son Double Barrel Shotgun, in estate condition. $500/700

Provenance: Longwood Plantation, built c. 1785, East Baton Rouge Parish, LA. 1196. A Continental Patinated Bronze Figure of “Prometheus Chained to the Rock, Tortured by Eagle”, 19th c., signed, height 27 1/4 in., width 24 in., depth 10 1/2 in. $600/900

W denotes the lot is illustrated at www.nealauction.com

223

W 1201. Maggie Hartnett

(American/New Orleans, mid-20th c.), “Nuns Walking by the Stable, French Quarter” and “Nuns Walking in Pirate’s Alley, French Quarter”, two oils on masonite, both signed lower right, 24 in. x 30 in. and 20 in. x 16 in. respectively, framed. $300/500 1202. Charles Whitfield Richards (American/New Orleans, 1906-1992), “Forlorn”, oil on canvas, signed lower left, 34 1/4 in. x 48 1/4 in., framed.

1199

$1000/1500 Provenance: Collection of Alice Barry, New Orleans and Pass Christian, MS.

1203 (1 of 2)

1203. Robert Gordy (American/New Orleans, 1933-1986), “Falling Females”, 1967, felt tip marker, signed and dated lower right, signed, titled, and dated, with The Glade Gallery, New Orleans label en verso of framing board, 11 in., x 8 1/2 in.; together with “Threatening Weather”, 1971, lithograph, Tamarind Institute, pencilsigned, titled and numbered 8/20, Galerie Simonne Stern, New Orleans label en verso of framing board, 30 1/8 in. x 20 1/4 in., both unframed, (2 pcs.)

1200

$400/600

1205

1202

W 1197. An Aesthetic Carved and Polychrome

Painted Umbrella Stand, with an incised and painted geometric motif, height 28 in., width 12 3/4 in., depth 10 1/2 in. $300/500 W 1198. Stefano Sideris (Greek/New Jersey,

1921-1978), “Children in the Park”, oil on canvas, signed lower left, 12 in. x 20 in., framed. $400/600

1199. Emil Eugen Holzhauer (Georgia/ Florida, 1887-1986), “Destin Sand Dunes”, 1937, oil on masonite, signed and dated lower right, 18 in. x 24 in., framed. $1500/2500 1200. Emil Eugen Holzhauer (Georgia/ Florida, 1887-1986), “Fishing on the Wharf, Carabella, Florida”, watercolor on paper, signed lower right, titled en verso, 22 in. x 30 in., unframed. $1200/1800

W 1204. Michael Ledet

(American/New Orleans, b. 1941), “Seated Nude”, 1967, graphite on paper, signed and dated lower left, 24 in. x 18 in., unframed. $200/300 1205. George Dureau (American/New Orleans, b. 1930), “Standing Male Nude”, charcoal on paper, signed lower center, sight 26 1/2 in. x 20 in., framed. $700/900 Provenance: Purchased from the artist, French Quarter, New Orleans. W 1205A. American School, 20th c.,

“Cobalt Glass Assemblage”, illuminated acrylic case, height 14 3/4 in., width 14 3/4 in., depth 8 1/2 in.; height 23 in., width 8 1/2 in., depth 14 1/2 in. $300/500

224

1206. Gustavo Duque (Colombia/New Orleans, 20th c.), “The Beginnings”, 2005, oil on canvas, signed, titled and dated en verso, 20 in. x 16 in., framed. $1000/1500 1213 W 1207. Noel

Rockmore (American/New Orleans, 19281995) “Group Scene: Egyptian Series”, 1985, watercolor and graphite, signed and dated lower right, Bryant Galleries, New Orleans label en verso, sight 17 1/4 in. x 11 3/4 in., matted and framed.

1213. An Antique American Cast Iron Indigo Pot, 19th c., flared rim, each side with two “pegs”, height 19 in., diameter 30 in.

1206

$1200/1800

$300/500 W 1208. Noel

Rockmore (American/ Rockmore, 19281995), “America: Built by the Weider System”, 1971, watercolor and collage, signed and dated lower right, titled lower left, sight 13 1/2 in. x 10 1/2 in., matted and framed.

1209

1214

1214. An American Rococo Carved Giltwood Mirror, 19th c., floral crest, beaded molded frame, floral and leaf pendant, height 38 in., width 25 in. $500/750 1215. An American Classical Giltwood Overmantel Mirror, 19th c., split baluster frame, divided mirror plate, rosette blocked corners, height 27 in., width 62 in.

$400/600 1209. Hunt Slonem (American/Louisiana, b. 1951), “Single Bunny”, 2007, oil on canvas, signed, titled and dated en verso, 10 in. x 8 in., framed. $700/900

$400/600

1215 W 1210. Volodoya

Kenarev (Bulgarian, b. 1951), “Escape”, 1979, oil on canvas, inscribed and dated on stretcher en verso, 11 1/8 in. x 9 7/8 in., unframed.

W 1211. A Pair of Bohemian Ruby-Glass Lustres, c. 1890, with gilt and

floral decoration, height 15 in., diameter 7 in. $200/400

$250/350

W 1212. A Patinated Metal Bird Cage, multi-tier with domed upper section

Provenance: Paige Gallery, Dallas, TX; to current owner, 1986.

surmounted by a finial, lower section of rectangular form, the whole on square legs, height 37 in., width 18 in., depth 10 1/8 in. $200/400 W denotes the lot is illustrated at www.nealauction.com

225

W 1216. A Group of Thirty

W 1225. A Bannock Tribe Pipe

Fractional Currency Notes, various denominations including Alabama, 10; Virginia, 8; North Carolina, 5; Georgia, 3; Mississippi, 2; South Carolina and Florida, 1 each.

with a Pair of Moccasins, the inlaid pipestone in the form a stylized buffalo, with later stem; the pair of moccasins, c. 1855, possibly N.E. Plains, with intricate beadwork, both presented in wooden shadowboxes.

$700/900

$600/900 W 1217. A Group of Twenty-

One Obsolete Currency Notes, various denominations, including 10 from Mississippi, 7 from Alabama, and 4 from Tennessee.

1226. An American Carved Ivory Handle Sword Cane, 19th c., length 35 in. 1221

$500/700

$700/900

W 1227. A Southwestern Pueblo Carved Wood “Burden” Backpack for Firewood, early 20th c, height 30 in., width 14 in., depth 10 1/2 in.

W 1218. A Group of Eight Confederate

Currency Notes, including Type 39, 3; Type 40, 2; Type 41, 2; and Type 72, 1.

$300/500

$500/700

Provenance: The Robert Jacobs Collection; to current owner.

W 1219. Two Confederate Civil War

Re-enactor Uniforms, with accoutrements.

W 1228. An American Blue Painted Pine

$150/250

and Wirework Birdcage, 19th c., arched top, side with small door, three tray drawers below, height 27 3/8 in., width 32 1/8 in., depth 17 7/8 in.

W 1220. A Union Civil War Breastplate,

pattern 1839, diameter 2 1/2 in.

$500/750

$100/200

Provenance: Longwood Plantation, built c. 1785, East Baton Rouge Parish, LA.

1221. An American Green and BlackPainted Pine Campaign Trunk, mid-19th c., inscribed “Capt. R. Mc C. Jones, R & D.R.R.”, cast iron handles, width 35 1/2 in. $500/750 Provenance: Descended in the family of Confederate Captain Robert McCandish Jones, First Virginia Regiment via Mrs. James Bertrand Cox.

W 1229. A Choctaw Rivercane Two-

Handled Storage Basket, early 20th c., both green and natural cane, herringbone pattern, height 23 in.

1226

$150/250

Note: Captain Robert McCandish Jones fought in Pickett’s Charge, one of the most celebrated Civil War events. He is quoted in the book Pickett’s Charge, by Archibald Rutledge, Richard Rollins, 2005; declaring to his superior, “turn us loose and we will take them!”

W 1230. A Cherokee River Cane Basket, natural, orange and

W 1222. An American Wool and Leather Carpet Bag, mid-

W 1231. A Choctaw Rivercane Tray Basket, natural, brown and

19th c., the body of red flecked green tapestry with brown leather bottom and handles, blue-and-white striped cotton ticking lining, height 16 in., length 24 in. Note: Some wear and loss.

green cane, height 5 in., width 15 in., depth 14 1/2.

$150/250

purple cane, flared body, diamond pattern, height 12 3/8 in., width 11 in., depth 9 1/4 in. $200/300

$150/250 W 1232. A Louisiana Native American Lidded Storage

55 in., width 54 in., depth 8 in.

Basket, 19th c., blue and natural splints, the handled lid fitting over a double-splinted rim above the bulbous body, height 39 1/2 in., diameter 18 in.

$200/300

$150/250

W 1224. A “Regal Anchor” Parlor Stove , height 52 in., width

W 1233. A Small Vintage Native American Sweetgrass

21 in., depth 21 in.

Basket, possibly Southwestern, oval, open form with dark blue squares on a red ground, length 4 3/4 in.

W 1223. An American Carved Oak Spinning Wheel , height

$150/250

$100/200

226

W 1234. [Julien de Lallande

1239. Southern School, late 19th c., “Cotton Picker on a Fence”, oil on canvas, unsigned, 20 in. x 15 3/8 in., in a giltwood frame.

Poydras], autograph note signed, in French, dated from Pointe Coupee, relating a discussion on the delivery of some letters and packages, 4 3/4 in. x 7 1/4 in., remnants of wax seal.

$500/750 Note: This surprisingly sophisticated pose is a close adaptation of that of Astronomy (also called the Venus Urania), by Giambologna (Giovanni da Bologna, Flemish / Italian, 1529-1608). Because the gender of that famous 39-cm-high signed bronze of c. 1575, in the Kunsthistorisches Museum, Vienna, is feminine (though its limbs are positioned in the identical sense of the Cotton Picker’s), an even closer prototype is Giambologna’s second essay of the same configuration, also of 1573-1575, his documented Apollo for the “Studiolo” of Francesco I de’ Medici, in the Palazzo Vecchio in Florence—which demonstrates an exact reversal of the same pose (at 89 cm. height), but with masculine attributes. Since both bronzes are among the most celebrated works of Giambologna, a print or photograph of either one might well have inspired the adventurous artist of the Cotton Picker on a Fence.

$500/700 W 1235. [Eccentric Preacher

Lorenzo Dow], autographed letter, by Lorenzo Dow (17771834), dated June 6th, 1803, detailing his organization of a church “in or near Bogue Homa, near the town of Mobile in Spanish Florida...to be called Shiloh Church”, signed with five members of the congregation, one page, 9 in. x 7 1/2 in.

1238

$700/1000 W 1236. [Last Will of Founder of

Spring Hill College], autograph letter signed, from Bishop Michael Portier (1795, France - 1859, Mobile, AL), last will and testament, dated from Pensacola, FL, March 25, 1856, where he outlines his wish to give his estate to Spring Hill College, and directing them to provide $50 yearly to each of his two sisters, also signed by probate judge, with probate court blindstamp.

W 1240. Two American Advertising

Pottery Jugs, 19th c., one marked “I.L. Lyons & Co., Limited, Wholesale Druggists, New Orleans, LA”; the other marked “C.J. Miller, Vicksburg, Miss”, height 15 1/2 in., diameter 9 1/2 in., height 13 1/2 in., diameter 8 1/2 in., respectively.

$700/1000 Note: Bishop Michael Portier was the first Roman Catholic bishop of Mobile, Alabama. He established Spring Hill College in 1830 and named Father Mathias Loras as its head. He also recruited nuns and brothers to manage a convent, orphanages and a hospital in Mobile, now known as Providence Hospital.

$500/700 1239 W 1241. A Collection of

Thirteen Antique Writing Instruments, 19th c. and later, including fountain pens, mechanical pencils, dip pens, paper cutters and a combination pencil and paper cutter, mounted with gold, motherof-pearl and ivory, some engraved with owner’s names, mounted in a shadowbox, 21 in. x 11 1/2 in.

W 1237. Beatrix Dorothy

Sherman (American, 1894-1975), “Silhouette of Calvin Coolidge Autographed by Coolidge”, signed and autographed “Calvin Coolidge” lower center, 5 7/8 in. x 4 5/8 in., attractively matted and framed.

$600/900

$300/500 1238. K.R. Knight (American, late 19th/ early 20th c.), “A New Recruit, Shoe Shine Boys”, oil on canvas, signed lower right, 22 3/4 in. x 33 1/4 in., period frame. $800/1200

Provenance: J.L Brown Department Store in Jacksonville, Texas, from 1872-1987. 1242. An American Belle Époque Carved Oak 1242 Bookcase, attributed to R.J. Horner, New York, blocked rocaille frieze above three leaded glass doors, caryatid pilasters, gadrooned base, hairy paw feet, height 64 1/2 in., width 77 in., depth 20 1/2 in. $2500/3500 W denotes the lot is illustrated at www.nealauction.com

227

W 1243. A Massive Collection of

W 1248. A Group of Silver

International Postage Stamps, 1840-1980, contained in 30 Scott International Postage Stamp Albums, thousands of stamps. Note: Albums not completely filled.

Handled Button Hooks, Nail Files and Sewing Tools, including 5 button hooks, 2 nail files, 1 wooden egg darner, 2 ink blotters, another sewing tool and a bird fork, (12 pcs.)

$800/1200

$250/350 1244. James N. King (American/ Louisiana, late 20th c./21st c.), “2 AM Dream”, oil on canvas, signed and artist’s label with title en verso, 36 in. x 36 in. unframed.

W 1249. A Group of Six

American Sterling Silver Baby Cups, 20th c., various makers, and 2 sterling silver porringers; together with 4 silverplate baby cups, total weight (weighable) 12.25 troy ozs.

$500/800

$200/300

W 1245. James N. King

(American/Louisiana, late 20th/21st c.), “The Pool”, oil on canvas, signed, artist’s label and titled en verso, 29 3/4 in. x 29 3/4 in., unframed.

Sterling Silver, various makers and forms, 20th c., including a Gorham reticulated heart dish, a Watson etched glass jam pot with silver lid and spoon, a Webster plate, an Alvin nut dish, 5 weighted compotes, a weighted salt and pepper set, 3 individual ashtrays, 7 large silver and glass coasters, 12 small silver and glass coasters, a cold meat fork, sauce ladle and 2 condiment forks; together with miscellaneous silverplate.

W 1247. A Group of Small Sterling

$300/500 W 1246. A Group of Twenty-Three

American Sterling Silver Bread and Butter Plates, 20th c., various makers including Tiffany, Reed & Barton and International, reeded and gadrooned borders, diameter 6 in., combined weight 52.20 troy ozs. $1200/1800

W 1250. A Box Lot of American

1244

Silver Objects, 20th c., including 12 Gorham nut dishes, 6 SSMC butter pats, 6 M. Scooler, New Orleans, 2 Mexican shellshaped individual ashtrays, 4 Webster individual salts, 9 salt spoons, 16 Sterling Silver Mfg. Co. individual salt and pepper castors and an Amcraft tea infuser, total weight 20.75 troy ozs.

$150/250

$300/500

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230

A UNIQUE SLANT OF LIGHT:

The Bicentennial History of Art in Louisiana

A lushly illustrated celebration of two centuries of creative work from Louisiana Unique Slant of Light: The Bicentennial History of Art in Louisiana is a handsome, unprecedented, commemorative hardcover book limited to 3,000 copies, commissioned by the Louisiana Bicentennial Commission and published by the Louisiana Endowment for the Humanities (LEH). This large-format volume encompasses 450 color pages and features approximately 275 artists and photographers. For art collectors and enthusiasts, for followers of Louisiana history, and for keepers of Louisiana pride, this dazzling book is testimony to the state’s vibrant artistic culture. Coeditors are Michael Sartisky, PhD, president of the LEH, and J. Richard Gruber, PhD, director emeritus of the Ogden Museum of Southern Art; John R. Kemp, former deputy director of the LEH, served as associate editor. Written by scholars from across the nation, the entries span all genres

of art — painting, sculpture, photography, folk art, decorative art, furniture — and periods, from colonial to contemporary. Private collections and major archives, including the Ogden Museum of Southern Art, the Louisiana State Museum, The Historic New Orleans Collection, and the Louisiana State University Museum of Art, contributed a comprehensive library of images. Every entry in the book is linked to fully articulated entries on each artist and genre in KnowLA: The Digital Encyclopedia of Louisiana History and Culture (knowla.org), which also has the capacity to include a much more extensive image gallery for each artist and genre.

The book can be ordered for $120.00 through www.leh.org/bicentennial/artbook.html or call 504-620-2637.

For more info

Notes

Satchmo Trumpet Auction In honor of the 2012 Satchmo SummerFest, custom trumpet builder Jason Harrelson, of Harrelson Trumpets, is donating this one-of-a-kind Satchmo trumpet that he personally designed and built. French Quarter Festivals, Inc. is partnering with New Orleans’ own Neal Auction Company for an exciting auction event which will feature the Harrelson Satchmo Trumpet. Proceeds will benefit the non-profit French Quarter Festivals, Inc. and Satchmo SummerFest. Harrelson Trumpets has collectors all over the world, and local favorites Kermit Ruffins and Shamarr Allen both play Harrelson trumpets. The auction will be open to bidders around the world, but we hope that this horn might end up in the hands of one of our great New Orleans musicians! French Quarter Festivals, Inc. is a 501(c)3 non-profit which hosts the French Quarter Festival, Satchmo SummerFest and Christmas New Orleans Style each year in New Orleans. Both festivals have an annual attendance of over 600,000 people with approximately 50% local attendees and 50% visitors. The festivals rely on sponsorship, beverage and merchandise sales, vendor fees, and special events in order to produce these important community music events. The festivals are responsible for over $300 million economic impact for the community (second only to Mardi Gras). Additionally, the events generate some $25 million in state and local tax revenue. The French Quarter Festival, called “the largest, free music festival in the South,” alone employs more than 800 local musicians during the festival weekend and hosts over 70 local restaurants which make up ‘the World’s Largest Jazz Brunch’ at the Festival. French Quarter Festivals, Inc. employs only local companies during their festivals and all money spent to produce the festivals stays within the local economy. Help support the community and bid on this unique trumpet lot 375.

FRENCH QUARTER FESTIVALS, INC. MISSION STATEMENT: To promote the Vieux Carre and the City of New Orleans through high quality special events and activities that showcase the culture and heritage of this unique city, contribute to the economic well-being of the community and instill increased pride in the people of New Orleans.

Important Bidding Information All Absentee/Telephone bids for the Saturday and Sunday auction sessions must be received by Friday, November 16 at 5 P.M. C.S.T. For a Telephone Bid each item must have a minimum low estimate of $500. Visit www.nealauction.com

GLOSSARY OF TERMS Please note that all of the terms and descriptions used in this catalogue are intended as qualified opinions only and are subject to the Conditions of Sale and Limited Warranty set forth elsewhere. Neal Auction Company assumes no express or implied warranty with respect to these terms and descriptions, and they shall not be construed to be a warranty, representation or assumption of liability. Subject to the foregoing, with respect to authorship of works of art, the following terms shall have the following meanings:

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

George Inness - In our qualified opinion, we believe the work is by the artist named.

After George Inness - In our qualified opinion, the work is a copy of a known work of the artist named.

Attributed to George Inness - 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.

Bears signature “George Inness” 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.

234

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

WIRE TRANSFER INFORMATION: Capital One 313 Carondelet Street New Orleans, LA 70130 504-533-7223 ACCT# 026223628 ROUTING #065000090 International Swift #HIBKUS44

Barry Bailey, 760 William H. Bailey, 1171 Marcel Andre Baschet, 1051 Cipri Adolf Bermann (aft), 837 Francois Auguste Biard (aft), 69 Jacqueline Bishop, 363 Otto Blum, 231 Karl Bodner, 146 Alfred L. Boisseau, 132 Carl Oscar Borg, 842 Bon de Boullogne (attr), 283 Robert Brammer, 116 Linda Broadfoot, 387 Peter Breuer, 502 Richard Burrell Brough, 1156, 1157 Charles de Wolf Brownwell, 336 William Henry Buck, 131 H. C. Buttler, 845

Xavier de Callatay, 1185 Joseph Caraud, 1032 Caribbean School, 742 George Castleden, 927 Marc Chagall, 235 Marie Nathalie Charbonnet, 875 William Merritt Chase, 234 Chinese School, 619 Demetrius Chiparus, 501 Howard Chandler Christy, 328 Emery Clark, 365, 758 Jean Cocteau, 1055 Paul E. Collins, 866 Gen. Victor Collot, 128 Clyde Connell, 371 Continental School, 2

Jean-Baptiste Camille Corot, 233 George David Coulon, 347 William Couper, 407 Franklin C. Courter, 1182 Guillaume Coustou the Elder (aft), 274 Jean Covens, 943

Salvador Dali, 1053 Edouard Detaille, 228 Sidney Dickinson, 1137 Arthur Vidal Diehl, 841 Alexander John Drysdale, 326, 334, 355, 747 George Bauer Dunbar, 364, 373, 374 Gustavo Duque, 1206 George Dureau, 1205 Dutch School, 960 Frank Duveneck, 238

Laurence Edwardson, 1158 Frank Eliscu, 1189 James Guy Evans, 133 Charles Van den Eycken II, 1132

Nicolas de Fer, 110, 126 Florida School, 743 Ruth Robertson Fontenot, 1160 French School, 1, 397, 902, 923, 959, 1052 Nestor Frugé, 749

Adrien Etienne Gaudez, 221 Arnold Genthe, 140 Doyle Gertjejansen, 372 Sallie Girday, 1177 Roland Golden, 388 Anne Goldthwaite, 1161 Robert Gordy, 380, 1203 Affortunato Gory (Gori), 441 John Gould, 36, 297301, 822 Robert Wadsworth Grafton, 327 Luis Graner y Arrufi, 746 Homer Green, 1101 John Gruen, 386

Christopher Harris, 382 Georgia Harris, 1153 Forrest Harrisberger, 1187 Maggie Hartnett, 1201 Robert Harvey, 398 Childe Hassam, 236 Homann Heirs, 945

Colette Pope Heldner, 311, 1150 Knute Heldner, 349 Fr. Louis de Hennepin, 124, 138 John William Hill, 123 Robert Henri, 319 Harold Hitchcock, 239, 240 Moris Henry Hobbs, 353, 354 Harry Leslie Hoffman, 752 Arthur Hogg, 767 William Hollingsworth, 744 Carl Robert Holty, 1186 Emil Eugen Holzhauer, 1199, 1200 Johann Baptist Homann, 942 Jean-Antoine Houdon (aft), 275 Clementine Hunter, 330332, 739, 740 Ethel Hutson, 1155

John McCrady, 142 Joseph Rusling Meeker, 337, Joseph Rusling Meeker (attr.), 352 Eliab Metcalf, 29 Jack Meyers, 1175 Charles Monginot, 844 Raffaelo Monti (aft), 3 Elemore Morgan, Jr., 741 Corneille Mortier, 943

Robert Nisbet, 1154 Jeffrey Noel, 1162

Henry Alexander Ogden, 1159 Claes Oldenburg, 1056

Eugene Gabriel Louis Isabey, 820 Guillaume de l’Isle, 127, 137 Italian School, 193

Boris Pastoukhoff, 961 Edgar Alwin Payne, 303 Achille Perelli, 333 Achille Peretti, 356 Max Pietschmann, 230 Jean-Baptiste Pigalle, 219 Sidney Pike, 38 Jesse Poimboeuf, 759 Henry Popple, 111 E. C. Potter (aft), 177

Marie Therese Bernard de Jaham, 874 Thomas Jefferys, 112 Myrtle King Jones, 1181

Conrad Keisel (attr), 977 Antonio Grediaga Kieff, 500 Nakajima Kijoshi, 523 James N. King, 1245 Alberta Kinsey, 357 Godfrey Kneller (fol), 818 K. R. Knight, 1238 Ida Kohlmeyer, 302, 361, 362 Utagawa Kunisada, 516 Charles Euphrasie Kuwasseg, 191

Jean Hyacinthe de Laclotte, 926 Clarence John Laughlin, 141 Michael Ledet, 370, 1204 H. H. Lloyd, 939 George Benjamin Luks, 1170

Donald J. Mackey, 1169 Henry Stacy Marks, 766 Nicola Marschall, 865 Julia Massie, 359, 360 Eulalio Garcia Mata, 390

Elmer Joseph Reed, 358 Charles Henry Reinike, 748 Wellington “Duke” Reiter, 763-765 Robert Rauschenberg, 237 Stefano Ricci (aft), 273 Charles Whitfield Richards, 1202 William S. Robinson, 335 Noel Rockmore, 389, 1207, 1208 Robert Stockton Rogers, 1181 Henriette Ronner, 1133 William Wallace Rosenbauer, 1172

Rowland Scherman, 1179, 1180 Henry Schiowitz, 367 Adolf Schreyer, 232 John Scott, 470 John Tarrell Scott, 368 Joseph Scott, 129 John Senex, 125 Ben Shahn, 1057 Rayford Shaw, 756 Beatrix Dorothy Sherman, 1237 Stefano Sideris, 1198 Hunt Slonem, 310, 1209 Benjamin Franklin Smith, 123

Bret James Smith, 351 Jules Andre Smith, 329 William Louis Sonntag, 30 Eugene Edward Soules, 1131 Southern School, 873, 903, 1151, 1184, 1239 Harry Soviak, 761 Allison Stewart, 753-755

Anthony Thieme, 321 Cephas Thompson (attr), 17 Joseph Thors, 819 Bertel Thorvaldsen (aft), 205 Isaac Tirion, 941 William Tolliver, 322, 323 Justinian Trudeau, 1102 Koitsu Tsuchiya, 519 Frances Lee Turner, 1181 Helen Maria Turner, 306 Arnold Turtle, 745

V. Varillaz, 978 Victor Vasarely, 1054 Jean-Joseph Vaudechamp, 115 George Louis Viavant (aft), 1106 Jose Mejia Vides, 308 Vincenzo Vela, 218 George Louis Viavant, 350 Jean Georges Vibert, 192 Kenarev Volodoya, 1210

William Aiken Walker, 143-145, 325, 863 William Aiken Walker (attr), 876 Louis Etienne Watelet, 229 Edwin Ambrose Webster, 320 Christoph Weigel, 940 John P. Weimar, 16 Paulette Tokar Whiteman, 757 “Pops” Whitesell, 381, 384, 385 Theodore “Fonville” Winans, 309 Thomas Waterman Wood, 1138 Ellsworth Woodward, 318, 324 William Woodward, 307, 1172, 1173 Don Wright, 750 Petrus Theodorus Van Wyngaerdt, 843

✹

Wayman Adams, 304, 305 Guido Agostini, 821 Enrique Alferez, 366, 379 Jacques Amans, 100, 101, 338 Wayne Amedee, 369 American Folk Art School, 750 American School, 864, 923, 1152, 1178, 1183, 1205A Walter Inglis Anderson (aft), 1163 John Antrobus, 348 Amos Lee Armstrong, 1176 Asian School, 593 John James Audubon, 34, 35, 37, 65, 68, 117-122, 147

November 17 & 18, 2012 ✹ artist index ✹ artist index ✹ artist index

Hiroshi Yoshida, 520

235

Neal Auction Company Auctioneers & Appraisers of Antiques & Fine Art 4038 Magazine Street, New Orleans, Louisiana 70115 504929 • Fax: 504708 • www.nealauction.com

Auction Date: November 17 & 18, 2012

Condition Report Request Form Please Review Guidelines For Condition Report Requests:

1. Items must have a minimum low estimate of $500. 2. Condition Reports will not be given verbally. 3. The Condition Reports Department is available to take requests two weeks prior to every auction. 4. Photo requests will only be processed for items not illustrated in our catalogue or on our website at www.nealauction.com. Detail photos provided upon discretion. 5. Condition Report Requests should be submitted by facsimile to 504-897-3808 or via the online request form by Wednesday, 11/14/12. 6. 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.

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238

Date

Fax Form on or before Friday, 11/16/12 to 504-617-6431 or 504-617-9990

CONDITIONS OF SALE Placing a bid at auction constitutes buyer’s acceptance of and agreement to these Conditions of Sale. 1. WAIVER OF WARRANTY: All lots are sold “AS IS”. No statement regarding condition, kind, value, or quality of a lot, whether made orally at the auction or at any other time, or in writing in this catalogue or elsewhere, shall be construed to be an express or implied warranty, representation, or assumption of liability. Any such warranty is WAIVED. Regarding works of art, Neal Auction Company does not make any express or implied warranty as to authorship. No statement in the catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. Buyer agrees and acknowledges that: (a) buyer is not relying on Neal Auction Company’s skill or judgment in selecting to purchase any lot; (b) no oral or written statements in the catalogue of Neal Auction Company or elsewhere regarding condition, attribution, kind, quality, value or authorship are the cause of or reason behind buyer’s purchase of any lot; (c) buyer would have incurred the purchase of any lot regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (d) Neal Auction Company did not know and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why buyer decides to purchase any lot; (e) buyer’s purchase of any lot is not intended to gratify a nonpecuniary interest; and (f) Neal Auction Company did not know, nor should it have known, that any oral or written statement about a lot in the catalogue or elsewhere would cause a nonpecuniary loss to buyer. Notwithstanding the foregoing WAIVER OF WARRANTY, agreements and acknowledgements, Neal Auction Company may in its sole discretion, but shall not be obligated to, consider any reasonable request for rescission of a sale on the basis of authenticity of authorship of a work of art under the following terms and conditions only, all of which must be met: A. Neal Auction Company shall not grant rescission regarding lots identified by Neal Auction Company by the terms “attributed to,” “school of,” “manner of,” “after,” or “signature of.” B. Neal Auction Company shall not grant rescission regarding any lot unless the buyer notifies Neal Auction Company in writing within a reasonable time 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. C. 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. D. 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 of the original buyer are not transferrable or assignable. E. Neal Auction Company shall not grant rescission when: (i) there is a conflict of expert opinion as to the authorship; (ii) expert opinion supported authorship at the time of sale, although expert opinion may have changed after the date of sale; and (iii) scientific processes that were unavailable, expensive or impractical at the time of sale have revealed since the time of sale that the author or period Neal Auction Company believed to be accurate at the time of sale was inaccurate. F. In any dispute between Neal Auction Company and buyer regarding authorship of a work of art, it is stipulated that rescission of the sale and refund of the price paid shall be the buyer’s sole recourse or remedy, if any is available, and Neal Auction Company shall not be responsible or obligated for any damages (including compensatory, general, incidental, exemplary or special damages), non-pecuniary losses, costs, expenses, injury, mental anguish, lost profits, attorney’s fees, or any other monetary or injunctive relief. 2. The auctioneer shall have absolute discretion in determining the successful bidder. At the fall of the auctioneer’s hammer, title to the offered lot will pass to the bidder acknowledged by the auctioneer. The bidder thereupon assumes full risk and responsibility and will pay full purchase price for the said lot.

3. The auctioneer may decide that any original bid is not commensurate with the value of the article offered, or that any advance thereafter is not of sufficient amount, he may reject the same. 4. The auctioneer reserves the right to withdraw any item at any time before the sale of the item. 5. No merchandise will be released before the end of the auction. 6. If the buyer fails to comply with any of the conditions of sale, Neal Auction Company reserves the right to hold such defaulting buyer liable for the purchase price; to cancel the sale, retaining as liquidated damages any payment made by the buyer; resell the property without reserve at public auction or privately on seven days’ notice to the buyer or, take such other actions available by law as deemed necessary or appropriate. If Neal Auction Company resells the property, the original defaulting buyer shall be liable for the payment of any deficiency in the purchase price and all costs and expenses, including warehousing, the expenses of both sales, reasonable attorneys’ fees, commissions, incidental damages and all other charges due hereunder. ABSENTEE/TELEPHONE BIDS 1. All absentee bids and/or telephone bids must be in our gallery by 5 P.M. CST 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 the Neal Auction Company. Each item must have a minimum low estimate of $500. 3. We assume no responsibility for failure to execute bids for any reason whatsoever. 4. We reserve the right to require that advance bids be accompanied by a 25% deposit. PAYMENT 1. The successful bidder agrees to pay a buyer’s premium in the amount of 22% of the hammer price on each lot up to and including $200,000, plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 2.5% of this 22%. 2. Unless exempt by law, the purchaser will be required to pay Louisiana and local taxes, and, if applicable, any federal luxury or other tax, on the total purchase price. 3. Documentation of tax exemption must be provided upon registration. 4. Payment in full must be made by the successful bidder within ten days of the auction date. Interest charges will apply to invoices paid after this period expires. We reserve the right to require payment in full of the sales price at the moment of the successful bid. 5. VISA, MasterCard, Discover and American Express are accepted for invoices up to $25,000 per customer. LIVE INTERNET BIDDING Live internet bidding is available through Live Auctioneers at a buyer’s premium in the amount of 23% of the hammer price. See www.liveauctioneers.com TERMS Any customer not accredited by Neal Auction Company must present a letter of reference from their bank or other suitable source acceptable to Neal Auction Company. Neal Auction Company requests that the merchandise be held on premises until the check clears or money can be wired into the Neal Auction Company account. SHIPPING We will assist buyers in making shipping arrangements by furnishing information on packers and shippers. Handling of purchased lots by us is at the risk of the purchaser. Final shipping arrangements and agreements are strictly between the buyer and the shipper. STORAGE We will be glad to store certain items purchased at auction until transportation is arranged. Unless other arrangements are made and confirmed in writing, all items must be removed within one week of the auction. On the first business day following that time period, merchandise remaining in the gallery will be turned over to a storage facility. The owner will be responsible for handling and storage costs. Handling costs will be a minimum of $50. Storage rates will carry a minimum charge of $15 per month. For a list of our storage charges by item category, please ask our customer service personnel at the front desk area. All items handled or stored will be at the purchaser’s risk. Storage charges are billed monthly and must be paid before merchandise is released. We are not liable for any damage to merchandise after the sale. 239

Auction Results for September 2012 0001-$2270 0002-$2583 0003-$2151 0004-$2270 0005-$1314 0006-$597 0007-$478 0008-$1599 0009-$2270 0010-$239 0011-$1912 0012-$717 0013-$861 0014-$3585 0015-$3883 0016-$2987 0017-$1792 0018-$10755 0019-$2214 0020-$2151 0021-$615 0022-$2629 0023-$861 0024-$956 0025-$2390 0026-$1195 0027-$2688 0028-$2987 0029-$430 0030-$717 0031-$717 0032-$478 0033-$2031 0034-$2509 0035-$358 0036-$2987 0037-$956 0038-$717 0039-$430 0040-$1075 0041-$1845 0042-$1434 0043-$537 0044-$478 0045-$1342 0046-$2509 0047-$3943 0048-$3226 0049-$1314 0050-$956 0051-$418 0052-$732 0053-$776 0054-$1912 0055-$369 0056-$2987 0057-$2688 0058-$1792 0059-$2987 0060-$836 0061-$14340 0062-$597 0063-$1195 0064-$4182 0065-$4270 0066-$4182 0067-$2390 0068-$4780 0070-$246 0073-$1673 0074-$657 0075-$1195 0076-$2868 0077-$5078 0078-$6273 0079-$5975

240

0083-$2868 0084-$717 0086-$478 0087-$1015 0088-$1314 0089-$1845 0090-$2390 0091-$1792 0093-$7170 0094-$5676 0095-$1195 0096-$4780 0097-$8365 0099-$2270 0101-$369 0102-$1673 0103-$1912 0104-$1792 0105-$1075 0106-$597 0107-$1464 0108-$6871 0109-$861 0110-$3050 0111-$2270 0112-$1792 0113-$836 0114-$9840 0115-$2270 0116-$3883 0117-$369 0118-$3198 0119-$2031 0120-$2868 0121-$537 0122-$4780 0123-$6710 0124-$2031 0125-$369 0126-$369 0127-$1037 0128-$328 0129-$1553 0130-$239 0132-$549 0134-$1159 0135-$776 0136-$179 0137-$492 0138-$2987 0139-$1553 0140-$2270 0141-$793 0142-$1314 0143-$5795 0144-$2987 0145-$537 0146-$305 0147-$396 0148-$776 0149-$3172 0150-$2074 0151-$123 0152-$298 0153-$915 0154-$976 0155-$717 0156-$366 0157-$478 0158-$2987 0159-$209 0160-$5227 0161-$1342 0162-$2390 0163-$2509 0165-$492

0169-$307 0171-$239 0172-$123 0173-$298 0175-$597 0176-$717 0179-$123 0180-$307 0181-$149 0182-$388 0183-$5078 0184-$13145 0185-$119 0186-$358 0187-$1708 0188-$418 0189-$2390 0190-$1434 0191-$1195 0192-$358 0193-$122 0195-$836 0196-$2629 0197-$956 0198-$1314 0199-$239 0200-$2509 0201-$597 0202-$5497 0203-$1912 0204-$478 0206-$358 0207-$298 0208-$239 0209-$836 0210-$239 0211-$418 0212-$2509 0213-$1434 0214-$896 0216-$179 0217-$1075 0218-$1195 0219-$717 0220-$119 0221-$179 0222-$239 0223-$418 0224-$1075 0225-$854 0226-$861 0227-$358 0229-$717 0230-$430 0231-$239 0233-$676 0234-$836 0235-$418 0236-$1553 0237-$3286 0240-$1098 0241-$537 0242-$1220 0243-$956 0245-$732 0246-$597 0248-$244 0249-$861 0250-$418 0251-$1830 0252-$717 0253-$1075 0254-$836 0255-$4481 0256-$478 0257-$3943

0258-$3346 0358-$1195 0259-$2460 0360-$1230 0260-$3346 0361-$478 0261-$3355 0363-$6273 0263-$492 0364-$2562 0264-$1673 0369-$5975 0265-$1599 0371-$3107 0266-$2868 0372-$2829 0267-$6765 0373-$597 0269-$676 0374-$717 0271-$2868 0375-$7170 0273-$2509 0376-$1586 0275-$5975 0377-$597 0276-$3585 0378-$2629 0277-$896 0379-$2091 0278-$1553 0380-$597 0279-$5975 0381-$492 0280-$1107 0382-$537 0280A-$4780 0383-$366 0281-$6871 0384-$537 0282-$657 0387-$239 0283-$4270 0388-$597 0284-$8663 0389-$2583 0285-$537 0391-$7468 0290-$33460 0393-$5676 0291-$13742 0394-$1230 0295-$3997 0395-$6765 0296-$1230 0396-$1434 0297-$1476 0398-$2091 0298-$861 0399-$836 0299-$246 0400-$2031 0300-$246 0401-$2031 0301-$6871 0402-$2031 0302-$23900 0403-$5676 0304-$23900 0404-$3107 0305-$7170 0405-$3965 0306-$8365 0406-$738 0307-$5535 0408-$12547 0310-$836 0409-$6871 0311-$976 0410-$5377 0312-$8540 0411-$11950 0314-$1195 0412-$11352 0316-$3585 0413-$6871 0317-$3690 0414-$10755 0319-$59750 0415-$26887 0320-$717 0416-$11950 0321-$597 0417-$717 0322-$3346 0419-$836 0323-$2270 0420-$1075 0324-$956 0422-$671 0325-$25095 0423-$1708 0326-$2987 0424-$717 0329-$610 0425-$717 0330-$2440 0426-$3660 0331-$2151 0427-$1220 0332-$799 0430-$861 0333-$1195 0431-$430 0334-$896 0432-$597 0335-$1135 0433-$776 0336-$2031 0435-$478 0337-$836 0436-$956 0338-$799 0437-$1015 0339-$1314 0438-$369 0340-$956 0439-$597 0341-$1912 0440-$836 0342-$8365 0441-$1107 0344-$5377 0442-$209 0346-$10157 0443-$305 0347-$3585 0444-$478 0350-$1195 0445-$956 0351-$1952 0446-$366 0352-$3883 0447-$418 0353-$2074 0448-$615 0354-$16470 0449-$1845 0356-$4780 0450-$597 0357-$2270 0451-$478

0452-$922 0453-$615 0454-$657 0455-$427 0456-$597 0457-$358 0458-$2270 0459-$2806 0460-$298 0461-$298 0463-$1107 0464-$478 0465-$5676 0466-$7170 0467-$5078 0468-$5377 0469-$6572 0470-$3585 0471-$4780 0472-$3883 0473-$2091 0474-$3286 0475-$717 0476-$854 0477-$854 0478-$2390 0479-$3107 0480-$1673 0484-$4541 0485-$418 0486-$298 0487-$184 0488-$1586 0489-$478 0491-$2987 0493-$1015 0494-$3690 0499-$3286 0501-$2390 0502-$4302 0503-$2688 0505-$4182 0506-$3883 0507-$4182 0508-$4270 0509-$657 0511-$5795 0512-$2152 0513-$836 0514-$5975 0515-$956 0517-$1845 0519-$1599 0521-$1792 0522-$246 0523-$1952 0524-$2390 0526-$1314 0527-$1075 0528-$369 0530-$2390 0531-$6871 0532-$657 0533-$732 0534-$2987 0535-$537 0536-$246 0537-$3883 0538-$1553 0540-$2460 0541-$1792 0542-$1075 0543-$2987 0544-$4920 0546-$3286 0547-$3943

0551-$2390 0554-$956 0556-$2270 0558-$1195 0559-$597 0563-$1434 0564-$1195 0568-$1845 0569-$717 0576-$1015 0577-$1168 0578-$3286 0579-$1586 0581-$1015 0582-$3050 0583-$1037 0584-$399 0585-$123 0586-$492 0589-$215 0590-$123 0592-$246 0593-$1195 0594-$584 0595-$956 0600-$2748 0602-$1599 0603-$896 0604-$537 0613-$3690 0614-$246 0615-$478 0616-$1722 0619-$8663 0620-$2460 0621-$1135 0622-$597 0623-$553 0626-$5676 0627-$5975 0628-$1314 0629-$615 0630-$3585 0631-$2091 0632-$7170 0633-$153 0634-$537 0635-$418 0636-$1195 0639-$427 0640-$1792 0641-$10755 0642-$1135 0643-$5842 0644-$3585 0645-$2390 0648-$2629 0649-$1075 0652-$3824 0653-$2509 0654-$17080 0655-$2688 0656-$1195 0657-$7767 0658-$7170 0660-$19717 0661-$7170 0662-$1230 0663-$5078 0664-$2460 0665-$13145 0666-$13145 0668-$2629 0669-$3585 0670-$2390 0671-$956

0672-$10157 0673-$597 0674-$2509 0676-$478 0677-$5258 0678-$2031 0679-$1075 0680-$1195 0681-$1434 0682-$358 0683-$1792 0684-$2031 0685-$610 0686-$836 0688-$2706 0689-$861 0690-$1912 0691-$1195 0692-$1792 0693-$239 0694-$3465 0697-$1792 0698-$4302 0699-$4302 0700-$119 0701-$19120 0702-$14760 0703-$1792 0704-$11950 0705-$1792 0706-$2390 0707-$179 0709-$307 0710-$671 0711-$239 0712-$597 0713-$418 0714-$2509 0715-$2509 0716-$1553 0717-$4481 0718-$597 0719-$2629 0720-$1195 0721-$1434 0722-$1195 0723-$1195 0724-$239 0725-$11070 0726-$5975 0727-$1673 0728-$1314 0729-$2270 0731-$3585 0732-$956 0733-$717 0735-$3107 0737-$1230 0738-$6765 0739-$1195 0741-$478 0742-$5676 0743-$976 0744-$2270 0746-$1553 0748-$1195 0750-$1230 0753-$1314 0755-$1845 0759-$2748 0760-$246 0761-$2987 0766-$358 0768-$1553 0771-$307 0775-$7072

0776-$47 0781-$119 0782-$657 0783-$732 0784-$956 0785-$358 0786-$418 0787-$537 0788-$2270 0789-$430 0790-$8365 0791-$2270 0792-$2868 0793-$5975 0794-$2031 0795-$2748 0796-$976 0797-$1098 0798-$358 0799-$1845 0800-$179 0801-$2509 0802-$854 0803-$1314 0804-$298 0805-$184 0806-$657 0807-$861 0808-$776 0809-$836 0810-$119 0811-$119 0812-$184 0813-$836 0816-$298 0817-$1912 0818-$1195 0819-$956 0820-$3465 0821-$1075 0822-$1075 0823-$553 0824-$179 0825-$776 0826-$1722 0827-$123 0828-$179 0829-$305 0830-$184 0832-$5078 0833-$3585 0834-$1314 0835-$1912 0836-$2091 0837-$5377 0838-$6572 0839-$15535 0840-$5676 0841-$956 0842-$4481 0843-$597 0844-$492 0845-$717 0846-$956 0847-$184 0849-$836 0850-$418 0851-$179 0852-$549 0854-$119 0855-$239 0856-$149 0857-$209 0859-$537 0860-$418 0861-$1314

0862-$836 0863-$488 0864-$4481 0865-$2151 0866-$1195 0867-$307 0869-$119 0870-$215 0871-$358 0872-$1195 0873-$1553 0874-$1195 0875-$1195 0876-$861 0877-$478 0878-$2829 0879-$89 0880-$1075 0881-$776 0883-$2214 0884-$119 0885-$149 0886-$478 0887-$478 0889-$1464 0890-$179 0891-$7468 0892-$4575 0893-$2270 0894-$1230 0895-$717 0896-$836 0897-$537 0898-$717 0899-$2629 0900-$4182 0901-$239 0902-$153 0904-$239 0905-$1230 0906-$179 0907-$2629 0908-$369 0909-$430 0910-$10456 0911-$2987 0912-$3355 0913-$478 0914-$717 0915-$358 0916-$2509 0917-$358 0918-$418 0919-$298 0920-$358 0921-$732 0922-$854 0924-$149 0925-$896 0926-$239 0927-$597 0928-$358 0930-$59 0931-$1792 0932-$956 0933-$4392 0934-$358 0935-$2748 0936-$478 0937-$1075 0938-$1195 0939-$492 0940-$717 0941-$244 0942-$2151 0943-$2031

0944-$836 1038-$915 0945-$1586 1039-$358 0946-$836 1040-$836 0947-$246 1041-$615 0948-$2629 1042-$3346 0949-$956 1043-$836 0950-$478 1045-$2987 0951-$2390 1046-$657 0952-$1792 1049-$1968 0954-$179 1050-$1075 0955-$956 1052-$3382 0956-$246 1053-$2706 0957-$246 1054-$984 0958-$358 1055-$2688 0959-$239 1056-$657 0960-$119 1060-$1342 0962-$179 1061-$492 0964-$358 1064-$717 0965-$430 1067-$2509 0966-$732 1067A-$738 0967-$478 1068-$1599 0968-$179 1069-$657 0969-$209 1070-$10157 0970-$369 1072-$1792 0971-$836 1074-$358 0972-$1314 1076-$2091 0973-$358 1080-$1434 0974-$179 1082-$1195 0975-$776 1083-$1230 0976-$358 1084-$732 0977-$488 1086-$1107 0978-$1342 1088-$2829 0979-$717 1089-$1075 0981-$369 1090-$717 0982-$732 1094-$492 0983-$119 1097-$597 0984-$956 1098-$1722 0986-$305 1101-$1968 0987-$209 1102-$2629 0988-$1220 1103-$896 0990-$149 1104-$717 0992-$149 1106-$610 0993-$179 1107-$597 0994-$91 1108-$2091 0995-$149 1109-$2509 0997-$119 1110-$358 0998-$179 1111-$2706 1000A-$717 1116-$4305 1001-$478 1117-$717 1001A-$430 1124-$2987 1003-$836 1125-$615 1005-$1722 1126-$537 1006-$2318 1128-$553 1007-$1434 1128A-$615 1008-$738 1131-$597 1009-$2074 1132-$717 1013-$2390 1133-$657 1014-$1434 1134-$492 1015-$610 1135-$956 1016-$478 1137-$427 1018-$1195 1138-$246 1019-$1220 1139-$478 1020-$717 1140-$369 1022-$488 1140A-$358 1023-$597 1142-$478 1024-$717 1143-$305 1026-$478 1144-$597 1027-$1075 1145-$4182 1028-$3226 1145A-$478 1029-$478 1146-$597 1030A-$1075 1148-$776 1030B-$478 1149-$2868 1032-$246 1150-$7320 1034-$184 1153-$610 1035-$399 1155-$478 1037-$549 1156-$1792

1158-$2318 1160-$239 1161-$239 1162-$615 1163-$369 1164-$597 1165-$369 1166-$1586 1167-$244 1168-$2196 1169-$492 1170-$492 1174-$776 1175-$2390 1176-$2562 1177-$984 1179-$738 1180-$488 1181-$492 1183-$298 1184-$366 1187-$427 1191-$184 1192-$184 1193-$123 1194-$1553 1195-$215 1196-$597 1197-$478 1198-$2509 1199-$298 1201-$1045 1203-$298 1205-$922 1206-$418 1207-$776 1209-$461 1210-$1673 1211-$1195 1212-$298 1213-$305 1214-$209 1215-$627 1216-$183 1217-$152 1218-$738 1219-$239 1220-$448 1222-$239 1225-$239 1226-$149 1227-$366 1228-$119 1229-$553 1230-$369 1231-$239 1232-$179 1235-$549 1237-$854 1238-$597 1241-$418 1242-$478 1244-$836 1246-$239 1247-$366 1250-$427 1256-$2214 1257-$537 1258-$430 1259-$492

Neal Auction Company John R. Neal Chairman

Neal Alford Katherine Hovas President Senior Vice President

Michelle LeBlanc Leckert, CAI Vice President

ADMINISTRATION

CONSIGNMENTS

Director of Administration & Finance Michelle LeBlanc Leckert, CAI Database Manager/Assistant to Director Jackie Hernandez Client Services Johanna Darilek Database/Administrative Assistant Lisa Weisdorffer

Director of Furniture & Decorative Arts Neal Alford; Rachel Weathers Director of Research Douglas Lewis, Ph.D., F.A.A.R. Director of Consignments, Books & Manuscripts Marc Fagan Director of Paintings, Prints & Photography Rachel Weathers Associate Director of Consignments Ashleigh Hite Silver & Decorative Arts Katherine Hovas Inventory Coordinator Steven G. Rutledge Fine Arts Amie Strickland Asian Arts Bettine Field Carroll

GENERAL MANAGER Jason Leckert

GRAPHICS Art Director Emory Nolan Catalogue Design Carolyn Finnell Photography Jason Leckert Tom Simpson ReneĂŠ Gautreaux

OPERATIONS Director of Operations Charles Lee Operations Staff Sol Carter Charlie Clay Kelvin Gibson Thomas Johnson Jerry Majors

EXHIBITION STAFF Sybil Lawson Carolyn Wogan Cammie Mayer Clare Stewart Karolyn Westervelt Cecile Ballard Mimi Abbott

AUCTIONEERS Neal Alford #797 Michelle LeBlanc Leckert #1514

AUCTION SERVICES Director of Business Development Bettine Field Carroll Trust & Estates Advisor Henry G. McCall Senior Appraiser Fine Arts Amanda Mantle Winstead Appraisals Rachel Weathers Marc Fagan Museum Services Douglas Lewis, Ph.D., F.A.A.R.

CATALOGUE CONSULTANTS Paintings and Fine Arts Claudia Kheel Furniture & Decorative Arts Doris Mollenkopf Newcomb Pottery & Decorative Arts Sally Main Silver Carey Mackie-Alsobrook Decorative Arts & Victoriana Ann M. Masson Fine & Decorative Arts Linda Stubbs

W denotes the lot is illustrated at www.nealauction.com