November 21-23 Louisiana Purchase Auction Catalogue

Neal Auction Company Louisiana Purchase Auction™ November 21, 22, & 23, 2014

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

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Front Cover: Lot 463. José Francisco Xavier de Salazar y Mendoza (Mexican, c. 1750-1802, act. New Orleans, c. 1782-1802), “Portrait of Dr. Robert Dow,” 1791, o/c, sd, 37 x 28 1/4 in., Prov.: Descended in the family of the sitter.

Back Cover: Lot 617. Boyd Alvyk Cruise (Mississippi/New Orleans, 1909-1988), “Fire Insurance Patrol, 732 Camp Street,” 1951, wc, 18 x 15 in., Exh.: The Historic New Orleans Collection, 1976.

This page: Lot 213. François Gall (French/Hungarian, 1912-1987), “Lady in Blue,” o/c, sd, 18 1/4 x 15 1/8 in.

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LOUISIANA PURCHASE AUCTION™ November 21, 22 & 23, 2014 On Our Premises 4038 Magazine Street & 3923 Carondelet Street • FEATURING: 18th and 19th c. American, French and English antiques, important paintings, historical material and decorative arts especially consigned by discerning collectors, estates and institutions including: • Important Louisiana Paintings from a Covington Estate • Fine Art, Prints and Sculpture from the Lifetime Collection of Art Patron Joel Weinstock, New Orleans • Important Fine and Decorative Arts from a Prominent Shreveport Family • The Isabel Spelman Devereux Collection of Treasures from the Golden Age of Mardi Gras • A Gentleman’s Collection of Southern Coin Silver • Antique and Vintage Jewelry from the Estate of Aloyis Lee Sonneborn, Mobile, AL • Property from the Bryan and Rubie Bell Collection, Musson-Bell House, New Orleans • And Property of Many Others

EXHIBITION both galleries beginning Monday, November 10, 10 a.m. to 5 p.m.

Special Saturday Preview, November 15, 10 a.m. to 5 p.m.

Evening Preview Reception, Wednesday, November 19, 5 to 8 p.m.

AUCTION SCHEDULE Friday, November 21, 2 p.m., 4038 Magazine Street Saturday, November 22, 10 a.m., 4038 Magazine Street Sunday, November 23, 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

1-800-467-5329 • Fax: 504-897-3808 • www.nealauction.com LA Auc. Lic., Neal Auction Co. #AB-107, Alford #797, LeBlanc #1514, Carroll #2014

We Invite You to Visit Us Online at www.nealauction.com

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Musson-Bell House Neal Auction Company is honored to present the Bryan and Rubie Bell Collection, Musson-Bell House, 1331 Third Street, New Orleans.

The Musson-Bell House, an imposing Italianate home in the Garden District, was commissioned in the 1850s by Michel Musson, a prominent cotton broker and the maternal uncle of French Impressionist Edgar Degas. For many years a small reproduction of the painting, “Portrait of Mme. Rene Degas” hung in the home.

Mr. and Mrs. Bell acquired the property in the 1950s and devoted over sixty years to preserving the historic complex of buildings which includes the original servants’ quarters, a cistern and cupola-topped stables, in addition to the stately residence.

Bryan Bell (1918-2009) was a New Orleans businessman and civic activist whose many honors include the Times Picayune Loving Cup. Rubie Bell, also active in community affairs, is a self described “preservationist”.

The Bells’ collection encompasses fine Continental and American furniture, paintings and decorative arts.

Reference: Tulane School of Architecture: New Orleans Virtual Archive. Musson-Bell House http://lunaweb.giza.tulane.edu/. Accessed October 23, 2014. Marshall, Keith.

“An 1850 Greek Revival, filled with marble mantels and rose-bronze gasoliers, is a treasure of architecture details.” The Times Picayune January 30, 2014.

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

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Aloyis Lee Sonneborn Neal Auction Company is honored to present the Estate of Aloyis Lee Sonneborn, a respected businesswoman, socialite, and philanthropist of Mobile, AL. A self-made, independent woman, Sonneborn established herself as a commercial real estate broker in the Mobile, AL community. Known for her successful ventures, she was contacted by the real estate division of an emerging restaurant chain, McDonald’s. During this transaction, she met Harry Sonneborn, then the President and CEO of McDonald’s, who would later become her husband. When McDonald’s went public at the New York Stock Exchange (NYSE), then a male only establishment, Mr. Sonneborn refused to participate unless his wife was admitted. The NYSE relented on their gender regulation and Aloyis Lee Sonneborn was the second woman in history, after Queen Elizabeth, to be admitted onto the stock exchange floor.

After the Sonneborns married, they traveled the world on adventures, amassing a collection of fine and decorative arts. Eventually they settled in Mobile, where they hosted lavish parties and dinners with friends. Sonneborn was also active the community. She served on various charitable boards including the Historic Blakeley Foundation of which she served as Chairman. In 2009, she established the Harry J. and Aloyis L. Sonneborn Foundation Trust, which provides need-based college scholarships to Mobile area students.

The Estate of Aloyis L. Sonneborn collection, which includes fine Continental furniture, paintings, prints, decorative arts, jewelry, and Asian art, reflects her passion for travel and entertaining. The proceeds from the sale will go to benefit the Harry J. and Aloyis L. Sonneborn Foundation Trust.

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Joel Weinstock The Weinstock collection reflects a certain regard for vividness, buoyancy and happenstance.

– Bookhardt, D. Eric, “The Art of Collecting,” Gambit, 11/06/01.

The Joel W. Weinstock Collection speaks for itself in terms of artistic merit and importance. The inventory, carefully amassed by Weinstock over the past halfcentury, reads like a “Who’s Who of Twentieth Century Art.” The modern and contemporary masters —ranging from French artists like Rouault and Arp to our beloved Louisiana artists like Dunbar and Dureau. …her life took a fateful turn in Paris during her student days at the Sorbonne, when she used the money her mother gave her to purchase French lingerie to buy a George Rouault print instead.

– Bookhardt, D. Eric, “The Art of Collecting,” Gambit, 11/06/01.

Well loved and highly esteemed, Joel Weinstock is credited with having built many of this city’s most prized art collections. Her discriminating taste, exacting art-expertise, and ethical standards have been highly regarded throughout the city for decades.

The spirit with which she has tackled both career and life have been both admired and envied. To New Orleanians, Joel Weinstock is considered the doyenne of art-society; her inimitable nature and personality, considered worthy of even anecdotal admiration: My husband John and I would return from the shore on Sundays, and he would say to me, ‘Don’t mind your beach coif, Dear, just grab your satin turban and let’s go to Marti’s for a martini.’

–Motley, Barbara. “Letter from New Orleans,” The Virtual Dinner Party, posted 11/14/13.

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

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The Isabel Spelman Devereux Collection of Treasures from the Golden Age of Mardi Gras As a small child Isabel Spelman (1883-1955) began to save her parents’ and older sisters’ ball invitations and favors. Eldest sister Mary Mersereau (Mamie) was a maid in the Proteus Court of 1889, sister Caroline Burnett (Carrie) was Queen of Carnival in 1892 and sister Anna Lovisa (Nannie) was a maid in the Rex Court of 1892. Isabel herself would be a maid in the Rex Court of 1904.

Her father, Mark R. Spelman, was president of Colonial Sugar Company and a founder of the Honey Island Railroad. The family’s New Orleans residence was 1441 First Street; they also maintained a home in New York.

The collection has descended to her granddaughter who writes: My grandmother, Beo, Isabel Spelman Devereux, grew up loving Mardi Gras. She was the youngest, by twelve years, of four sisters and by the time she was eight, her older sisters were participating in the glamorous social whirl that was Carnival. Gowns and gloves, parasols and fans and mountains of invitations filled her life. Unfolding the magical ball invitations that were sent to her mother and sisters and eventually to her, enchanted her imagination all of her life.

When Beo decided I was old enough and careful enough, she shared her box of enchantments with me. We would pore over each color-filled invitation or dance card and she would tell me stories of her dancing days or we would make up our own fanciful tales. I loved them as much as she did and I always had permission to haul out the Best & Co. box that lived under her bed and housed her Mardi Gras treasure trove.

In her hall closet another box held her Carnival bulletins, and on special occasions when there was plenty of time, we would haul out four or five papers to carefully unfold on the floor and pretend it was Mardi Gras day. My brother, Devereux, and I, draped in the costume jewels of our grandfathers, would often pretend to be King and Queen of whatever parades happened to be rolling that day. We had Mardi Gras whenever we wanted.

Neal Auction Company is pleased to present this special family collection and would like to thank noted historian Henri Schindler and Wayne Phillips, Curator of Costumes and Textiles, Louisiana State Museum, for their kind assistance with the catalogue.

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Session One Friday, November 21, 2 pm 4038 Magazine

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

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The Isabel Spelman Devereux Collection of Treasures from the Golden Age of Mardi Gras, lots 1-174

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W 1. [Mardi Gras], Mistick Krewe of Comus,

8. [Mardi Gras], Mistick Krewe of Comus, ball favor pin, 1914, theme “Tales from Chaucer”.

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ball favor pin, 1891, theme “Demonology”. Note: Loss to enamel.

$400/600

$300/500 2. [Mardi Gras], Mistick Krewe of Comus, rare sterling silver and enamel ball favor pin, c. 1900. Note: Missing clasp.

9. [Mardi Gras], Twelfth Night Revelers, rare sterling silver gilt and enamel ball favor pin, 1905, theme “A Night in Japan”.

$300/500

$400/600

W 3. [Mardi Gras], Mistick Krewe

of Comus, sterling silver gilt and enamel ball favor pin, 1900, theme “Stories of the Golden Age”.

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10. [Mardi Gras], Twelfth Night Revelers, sterling silver gilt and enamel ball pin favor, 1913, theme “The Origin and Quaint Customs of Twelfth Night”.

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$300/500 Note: Illustrated in Arthur Hardy’s Mardi Gras in New Orleans, Arthur Hardy Enterprises: New Orleans, 2003, p.28.

$400/600 8

4. [Mardi Gras], Mistick Krewe of Comus, sterling silver gilt and enamel ball favor pin, 1901, theme “Selections from the Operas”.

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11. [Mardi Gras], Twelfth Night Revelers, ball favor pin, 1923, theme “Ayesha”.

$400/600 5. [Mardi Gras], Mistick Krewe of Comus, sterling silver and enamel ball favor pin, 1902, theme “The Fairy Kingdom”.

$400/600

$400/600 Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Jewelry of the Golden Age, Pelican Publishing Company: Gretna, 2006, p. 31; and Arthur Hardy’s Mardi Gras in New Orleans, Arthur Hardy Enterprises: New Orleans, 2003, p. 28.

6. [Mardi Gras], Mistick Krewe of Comus, ball favor pin, 1905, theme “The Lost Pleiad”. $400/600 Note: Illustrated in Arthur Hardy’s Mardi Gras in New Orleans, Arthur Hardy Enterprises: New Orleans, 2003, p.

28.

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Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Jewelry of the Golden Age, Pelican Publishing Company: Gretna, 2006, p. 109.

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Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Jewelry of the Golden Age, Pelican Publishing Company: Gretna, 2006, p. 109.

12. [Mardi Gras], Knights of Momus, ball favor pin, c. 1900, marked “M. Scooler, N.O”.

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7. [Mardi Gras], Mistick Krewe of Comus, ball favor pin, 1913, theme “Time’s Mysteries”.

$300/500 13. [Mardi Gras], Knights of Momus, ball favor pin, c. 1900.

$400/600 13

$300/500

19. [Mardi Gras], Knights of Momus, ball favor pin, 1915, theme “Tales of the How and Why”.

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$300/500

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14. [Mardi Gras], Knights of Momus, sterling silver gilt and enamel ball favor pin, 1900, theme “Legends from the Court of King Arthur”.

20. [Mardi Gras], Knights of Momus, ball favor pin, 1924, theme “The Jatakamala Tales of Buddha’s Lives”.

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$300/500 Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Jewelry of the Golden Age, Pelican Publishing Company: Gretna, 2006, p. 136.

$300/500 Note: The Louisiana State Museum’s Mardi Gras Collection includes examples of this pin.

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15. [Mardi Gras], Knights of Momus, sterling silver gilt and enamel ball favor pin, 1904, marked “Adler, N.O.”, theme “Visions of the World’s Vanities”.

$400/600 Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Jewelry of the Golden Age, Pelican Publishing Company: Gretna, 2006, p. 138.

$300/500 19 16. [Mardi Gras], Knights of Momus, rare ball favor pin, possibly 1905, theme “Vathek”.

22. [Mardi Gras], Krewe of Proteus, rare ball favor pin, possibly 1896, theme “Dumb Society”.

$300/500 17. [Mardi Gras], Knights of Momus, sterling silver and enamel ball favor pin, 1907, theme “The Quest of the Fountain of Youth”.

21. [Mardi Gras], Krewe of Proteus, ball favor pin, 1889, marked “Frantz & Opitz”, theme “The Hindoo Heavens”.

$300/500

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Note: Probably made in New Orleans, relates to examples made by Maurice Scooler.

23. [Mardi Gras], Krewe of Proteus, ball pin favor, 1897, theme “Orlando Furioso (Aristo)”.

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$300/500

$300/500

W 24. [Mardi Gras], Krewe of

18. [Mardi Gras], Knights of Momus, sterling silver gilt and enamel ball favor pin, 1913, theme “Above the Clouds”.

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$400/600

Proteus, ball favor pin, 1904, theme “The Alphabet”. Note: Loss to enamel. $200/400

25. [Mardi Gras], Krewe of Proteus, ball favor pin, 1905, theme “The Rubaiyat”. $300/500 23 W denotes the lot is illustrated at www.nealauction.com

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36. [Mardi Gras], Rex, Ducal Badge, 1883, theme “Atlantis-The Antediluvian World”, presented in an antique, probably original, unmarked box. $500/1000 34

26. [Mardi Gras], Krewe of Proteus, ball favor pin, 1906, theme “The Inspiration of Proteus (Silver Anniversary)”. $300/500 27. [Mardi Gras], Krewe of Proteus, ball favor pin, 1907, theme “The Queen of the Serpents (from the Thousand and One Nights)”. $400/600 28. [Mardi Gras], Krewe of Proteus, ball favor pin, 1909, theme “Romances of Wales”. $300/500 29. [Mardi Gras], Elves of Oberon, ball favor pin, possibly 1912, theme “Satan Dethroned”. $300/500

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W 30. [Mardi Gras], Elves of

34. [Mardi Gras], Atlanteans, rare sterling silver and enamel ball favor pin, c. 1900, by Gorham.

Oberon, ball favor pin, possibly 1912, theme “Satan Dethroned”. Note: Loss to enamel. $200/300 31. [Mardi Gras], Elves of Oberon, ball favor pin, 1914, theme “Le Grand Trianon”. $400/600 32. [Mardi Gras], Elves of Oberon, ball favor pin, 1914, theme “Le Grand Trianon”. $300/500 33. [Mardi Gras], Elves of Oberon, ball favor pin, probably 1925, theme “The Carnival of Venice”. $400/600

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$400/600 Note: The Louisiana State Museum Mardi Gras Collection includes an example of this pin.

W 35. [Mardi Gras], a

silvered charm bracelet fitted with a collection of ball favor pins including: TNR, 1905; Atlanteans, 1905; Momus, 1908; Momus, 1910; TNR, 1908, Momus, 1991; Momus peacock; Momus Japanese lady; and Harlequin head mask; all drilled. $300/500

Note: Illustrated in Henry Schindler’s Mardi Gras Treasures, Jewelry of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 61; and in Stephen Hales’ Rex, An Illustrated History of the School of Design, Arthur Hardy Enterprises, Inc., Mandeville, 2010, p. 51.

37. [Mardi Gras], Rex, Ducal Badge, 1904, theme “In the Realm of Imagination”, ribbon detached but retained, associated box. $400/600 Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Jewelry of the Golden Age, Pelican Publishing Company: Gretna, 2006, p. 84.

38. [Mardi Gras], The Mistick Krewe of Comus, ball invitation, 1871, theme “Spencer’s Faerie Queen”, (1 pc.) $300/500 Note: Illustrated in Arthur Hardy’s Mardi Gras in New Orleans, Arthur Hardy Enterprises: New Orleans, 2003, p. 32.

39. [Mardi Gras], The Mistick Krewe of Comus, ball invitation, envelope, and 25th anniversary card, 1882, theme “The Worships of the World”, designed by Charles Briton, (3 pcs.) $500/700

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40. [Mardi Gras], The Mistick Krewe of Comus, ball invitation and envelope, 1884, theme “Illustrated Ireland”, (2 pcs.) $500/700 Note: Illustrated in Arthur Hardy’s Mardi Gras in New Orleans, Arthur Hardy Enterprises: New Orleans, 2003, p.27.

Note: The 1884 Comus ball is considered the first to include a court: daughters of the Confederacy Mildred and Mary Lee, Winnie Davis and Nannie Hill, who were invited as special guests. Mildred Lee, who danced the first quadrille with Comus, is considered the first queen of the Mistick Krewe.

Reference: Schindler, Henri. Mardi Gras, New Orleans, Flammarian: Paris, 1997, p. 79.

41. [Mardi Gras], Mistick Krewe of Comus, parade booklet, 1884, published by The Royal Publisher, The Times-Democrat, New Orleans, theme “Illustrated Ireland”, (1 pc.) $400/600

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43. [Mardi Gras], The Mistick Krewe of Comus, ball invitation, envelope, and two admit cards, 1892, theme “Nippon, the Land of the Rising Sun “ designed by Jennie Wilde, (4 pcs.)

W 42. [Mardi Gras], Mistick

Krewe of Comus, ball invitation, 1891, theme “Demonology “, designed by Jennie Wilde, (1 pc.) $500/700 Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, pp. 22-3.

$700/900 Note: Winnie Davis, the younger daughter of Confederate President Jefferson Davis, was queen in 1892.

In keeping with the theme, she and her court wore silk-satin kimonos.

Invitation illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, pp. 24-5 43 W denotes the lot is illustrated at www.nealauction.com

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46. [Mardi Gras], The Mistick Krewe of Comus, dance card, 1898, theme “Scenes from Shakespeare”, designed

by Jennie Wilde, (1 pc.) $300/500 Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 28.

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47 47. [Mardi Gras], The Mistick Krewe of Comus, ball invitation, envelope, and dance card, 1899, theme “Josephus”, designed by Jennie Wilde (3 pcs.) $700/900 Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, pp. 30-1; dance card illustrated in Arthur Hardy’s Mardi Gras in New Orleans, Arthur Hardy Enterprises: New Orleans, 2003, p. 51, and Errol Laborde’s Mardi Gras, Chronicles of New Orleans Carnival, Pelican Publishing Company: New Orleans, 2013, p. 41.

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48. [Mardi Gras], The Mistick Krewe of Comus, ball invitation, envelope, admit card and dance card, 1900, theme “Stories of the Golden Age”, designed by Jennie Wilde, (4 pcs.) $700/900 Note: Invitation illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, pp. 32-3.

46 49 44. [Mardi Gras], The Mistick Krewe of Comus, ball invitation, envelope and admit card, 1896, theme “The Months and Seasons of the Year”, designed by Jennie Wilde, (3 pcs.) $700/900 Note: Invitation illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 26.

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45. [Mardi Gras], The Mistick Krewe of Comus, ball invitation and two envelopes, 1897, theme “Homer’s Odyssey”, designed

by Jennie Wilde, (3 pcs.) $600/900 Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 27.

49. [Mardi Gras], The Mistick Krewe of Comus, ball invitation, envelope, dance card and two admit cards, 1902, theme “The Fairy Kingdom”, (5 pcs.) $1200/1800

50. [Mardi Gras], Mistick Krewe of Comus, ball invitation and two admit cards, 1903, theme “A Leaf from the Mahabarata”, designed by Jennie Wilde, (3 pcs.) $600/900 Note: Invitation illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 36.

51. [Mardi Gras], Mistick Krewe of Comus, ball invitation, envelope, admit card, call-out card and dance card with pencil, 1905, theme “The Lost Pleiad”, designed by Jennie Wilde, (5 pcs.) $1000/1200 Note: Invitation illustrated in Henri Schindler’s book Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 39.

52. [Mardi Gras], Mistick Krewe of Comus, Golden Anniversary Ball invitation and envelope, 1906, theme “The Masque of Comus”, designed

by Jennie Wilde (2 pcs.)

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53

51

$600/900 Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 39.

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54. [Mardi Gras], Mystic Krewe of Comus, ball invitation and dance card with pencil, 1914, theme “Tales from Chaucer”, design by Jennie Wilde, (2 pcs.) $500/700

53. [Mardi Gras], Mystick Krewe of Comus, ball invitation, envelope and dance card with pencil, 1909, theme “Flights of Fancy”, designed

by Jennie Wilde, (3 pcs.)

W 55. [Mardi Gras], Twelfth Night Revelers, ball

invitation, envelope and admit card, 1885, theme “Domino”, (2 pcs.) $400/600 52

$800/1200

W 56. [Mardi Gras], Twelfth Night Revelers, ball

invitation, 1896, theme “That Orbed Maiden with White Fur Laden”, (1 pc.) $200/400

Note: Dance card illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 41.

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

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W 58. [Mardi Gras], Twelfth Night

Revelers, ball invitation and envelope, 1902, theme “The Birthnight of the Hummingbird (Goodrich)”, (2 pcs.) $200/400 59. [Mardi Gras], Twelfth Night Revelers, ball invitation, envelope, two admit cards and dance card, 1904, theme “Harlequin”, (5 pcs.) $500/700 W 60. [Mardi Gras], Twelfth Night

Revelers, ball invitation and envelope, 1908, theme “Court of Misrule”, (2 pcs.) $200/400

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61. [Mardi Gras], Twelfth Night Revelers, ball invitation, 1911, theme “The Battle of the Flowers”; and dance card with pencil, 1912, theme “The Butterfly”, (2 pcs.)

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$400/600 62. [Mardi Gras], Rex ball invitation and envelope, 1882, theme “Pursuit of Pleasure”, designed by Charles Briton, (2 pcs.) $600/900 Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, pp. 50-1; and Arthur Hardy’s Mardi Gras in New Orleans, Arthur Hardy Enterprises: New Orleans, 2003, p. 40.

62 63. [Mardi Gras], Rex ball invitation, envelope and admit card, 1881, theme “Arabian Nights Tales”, designed by Charles Briton (3 pcs.)

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$700/900 Note: Ball invitation illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 52; and Arthur Hardy’s Mardi Gras in New Orleans, Arthur Hardy Enterprises: New Orleans, 2003, p. 40.

57. [Mardi Gras], Twelfth Night Revelers, ball invitation and dance card with pencil, 1899, theme “The Realm of the Butterflies”, (2 pcs.) $400/600 Note: Dance card illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 82.

63

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W 64. [Mardi

Gras], Twelfth Night Revelers, ball program, 1938, theme “A Reminiscence of Lafcadio Hearn”; ball program, 1934, theme “The Emperor’s New Clothes”; and ball program, 1959, theme “Holders of the Gold and Silver Beans”, (3 pcs.) $400/600 Note: The 1938 ball program illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 83.

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65. [Mardi Gras], Rex, ball invitation, invitation envelope, outer envelope and two admit cards, 1883, theme “Atlantis, the Antediluvian World”, lithography by F. Appel, Paris (5 pcs.) $1000/1200 Note: Admit card and invitation envelope illustrated in Henri Schindler’s Mardi Gras Treasures: Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 53.

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68. [Mardi Gras], Rex, ball invitation and envelope, 1901, theme “Human Passions and Characteristics” (2 pcs.) $600/800 69

W 66. [Mardi Gras], Rex, ball invitation, envelope and admit card, 1887,

theme “Music and Drama” (2 pcs.) $300/500 Note: Admit card illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 57; and Stephen W. Hales’ Rex, an Illustrated History of the School of Design, Arthur Hardy Enterprises: New Orleans, 2010, p. 78.

67. [Mardi Gras], Rex, ball invitation and envelope, 1894, theme “Illustrations From Literature”, design by Bror Anders Wikstrom (2 pcs.)

69. [Mardi Gras], Knights of Momus, ball invitation and envelope, 1882, theme “The Ramayana”, design by Charles Briton (2 pcs.) $600/900 Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, pp. 108-9; and Arthur Hardy’s Mardi Gras in New Orleans, Arthur Hardy Enterprises: New Orleans, 2003, p. 43.

W 70. [Mardi Gras], Knights of Momus, ball invitation,

envelope and admit card, 1887, theme “Myths of the New World” (3 pcs.) $700/900

$700/900 Note: Ball invitation illustrated in Henri Schindler’s Mardi Gras Treasures: Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, pp. 64-5.

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

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W 73. [Mardi

Gras], Knights of Momus, ball invitation and dance card with pencil, 1899, theme “Cinderella, or The Little Glass Slipper”, (2 pcs.) $500/700 W 74. [Mardi

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Gras], Knights of Momus, ball invitation and dance card with pencil, 1902, theme “Byron’s Poems”, (2 pcs.)

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$400/600 75. [Mardi Gras], Knights of Momus, ball invitation, envelope, admit card and dance card, 1904, theme “Visions of the World’s Vanities”, (4 pcs.) $700/900 Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 116.

W 76. [Mardi Gras], Knights of Momus, invitation, envelope and

admit card, 1907, theme “The Quest of the Fountain of Youth”, (3 pcs.) $400/600

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77. [Mardi Gras], Knights of Momus, ball invitation, envelope and dance card, 1909, theme “Signs and Superstitions”, designed by Jennie Wilde (3 pcs.) $600/900

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71. [Mardi Gras], Knights of Momus, ball invitation, envelope and 3 admit cards, 1883, theme “The Moors of Spain”, (5 pcs.)

72. [Mardi Gras], Knights of Momus, ball invitation, envelope, admit card and dance card, 1892, theme “Aladdin or The Wonderful Lamp” (4 pcs.)

$800/1200

$800/1000

Note: Ball invitation illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 110.

Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 113.

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Note: The dance card illustrated in Henri Schindler’s Mardi Gras, New Orleans, Flammarion: Paris, 1997, p. 79.

78. [Mardi Gras], Knights of Momus, ball invitation, envelope and dance card with pencil, 1911, theme “The Language of Flowers”, (3 pcs.) $600/900

W 79. [Mardi Gras],

Knights of Momus, dance card with pencil, 1914, theme “Odds and Ends of Nonsense”, designed by Jennie Wilde, (1 pc.) $400/600 Note: Illustrated in Henri Schindler’s Mardi Gras, New Orleans, Flammarion: Paris, 1997, p. 78.

80. [Mardi Gras], Krewe of Proteus, ball invitation, envelope and admit card, 1886, theme “Visions of Other Worlds”, designed by Carlotta Bonnecaze, (3 pcs.)

80

$700/900 83

Note: Ball invitation illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 126.

W 81. [Mardi Gras], Krewe of Proteus,

ball invitation and envelope, 1887, theme “Andersen’s Fairy Tales”, (2 pcs.) $500/700 82. [Mardi Gras], Krewe of Proteus, ball invitation, envelope, two admit cards and dance card with pencil, 1888, theme “Legends of the Middles Ages”, lithography

by F. Appel, Paris, (5 pcs.) $1000/1200

82

Note: Ball invitation and dance card illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, pp. 127-128.

83. [Mardi Gras], Krewe of Proteus, ball invitation, two envelopes (different sizes), and dance card, 1889, theme “The Hindoo Heavens”, designed by Carlotta Bonnecaze, (4 pcs.) Note: condition.

84

W 85. [Mardi Gras], Krewe of Proteus,

ball invitation, 1892, theme “A Dream of the Vegetable Kingdom”, (1 pc.)

$600/900 Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, pp. 130-1.

$400/600 Note: Illustrated in Arthur Hardy’s Mardi Gras in New Orleans, Arthur Hardy Enterprises: New Orleans, 2003, p. 37.

84. [Mardi Gras], Krewe of Proteus, ball invitation, envelope and admit card, 1890, theme “Elfland”, designed by Carlotta Bonnecaze, lithography by F. Appel, Paris (3 pcs.)

86. [Mardi Gras], Krewe of Proteus, ball invitation and envelope, 1897, theme “Orlando Furioso”, design by Bror Anders Wikstrom, (2 pcs.)

$700/900

$500/700

Note: Ball invitation illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 129.

Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 135.

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

17

88. [Mardi Gras], Krewe of Proteus, ball invitation, two envelopes and dance card with pencil, 1899, theme “E Pluribus Unum”, design by Bror Anders Wikstrom (4 pcs.) $700/900 Note: Ball invitation illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 136.

89. [Mardi Gras], Krewe of Proteus, ball invitation, 2 envelopes, and two admit cards, 1902, theme “Flora’s Feast”, (5 pcs.)

90

$800/1200 90. [Mardi Gras], Krewe of Proteus, ball invitation, two envelopes and admit card, 1903, theme “Cleopatra”, (4 pcs.)

88

$700/900 Note: Admit card illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 138.

91. [Mardi Gras], Krewe of Proteus, two ball invitations, envelope, and dance card with pencil, 1904, theme “The Alphabet”, (4 pcs.)

91

$700/900 92. [Mardi Gras], Krewe of Proteus, two programs for the Silver Anniversary Ball, envelope, dance card and two admit cards, 1906, theme “The Inspiration of Proteus”, design

by Bror Anders Wikstrom, (6 pcs.)

89

$800/1200 92

W 87. [Mardi Gras], Krewe of

Proteus, ball invitation, 1898, theme “A Trip to Wonderland”, (1 pc.) $400/600

Note: Program illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 139.

93. [Mardi Gras], Krewe of Proteus, ball invitation and envelope, 1909, theme “Romances of Wales”, (2 pcs.) $500/700

93

18

Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 143.

94. [Mardi Gras], Krewe of Proteus, ball invitation, envelope, two admit cards, and call-out card, 1907, theme “The Queen of the Serpents”, (5 pcs.) $700/900 Note: Ball invitation illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 140.

94

W 95. [Mardi Gras], Krewe

of Proteus, ball invitation and envelope, 1910, theme “Astrology”, (2 pcs.)

101

$400/600 96. [Mardi Gras], Krewe of Proteus, ball invitation, 2 envelopes, admit card and dance card, 1913, theme “Adventures of Telemachus”, (5 pcs.) $600/900

101. [Mardi Gras], The Atlanteans, ball invitation and dance card with pencil, 1899, theme “The Temple of Fame (Alexander Pope)”, (2 pcs.) $400/600 96

Note: Ball invitation illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 144.

W 102. [Mardi Gras], The Atlanteans, two

W 97. [Mardi Gras], The

103. [Mardi Gras], The Atlanteans, ball invitation, two envelopes, admit card, and dance card with pencil, 1905, theme “The Rainbow”, (5 pcs.)

ball invitations, envelope and admit card, 1902, theme “The Robes of Feathers (a Japanese story by Fitzgerald)”, (4 pcs.) $500/700

Atlanteans, ball invitation, envelope, and admit card, 1892, theme “The Tempest”, (3 pcs.)

$600/900

$500/700 W 104. [Mardi Gras], The Atlanteans, ball

invitation and envelope, 1907, theme “Court of the Great Mogul Shah Jehan”, (2 pcs.)

W 98. [Mardi Gras], The

Atlanteans, ball invitation and envelope, 1893, theme “The Bird Wife (Lafcadio Hearn)”, (2 pcs.) $400/600

$500/700 103

Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 85.

W 99. [Mardi Gras], The

Atlanteans, dance card, 1894, theme “The Ballet of the Season at Fontainebleau”, (1 pc.)

105. [Mardi Gras], The Atlanteans, ball invitation, envelope and three dance cards with two pencils, 1908, theme “The Realm of Hyperion”, design by Jenny Wilde, (5 pcs.)

$300/500

$700/900 Note: Invitation illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 86.

W 100. [Mardi Gras], The

Atlanteans, ball invitation, envelope and dance card with pencil, 1898, theme “The Garden of Irem”, (3 pcs.) $400/600

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

19

W 109. [Mardi Gras], Elves of Oberon,

ball invitation, envelope and dance card with pencil, 1909, theme “The Ships that Come In”, (3 pcs.) $500/700 110. [Mardi Gras], Krewe of Nereus, ball invitation, envelope and dance card, 1897, theme “Coral Groves and Grottoes”, (3 pcs.) $600/900 Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, pp. 90-1; and invitation illustrated in Arthur Hardy’s Mardi Gras in New Orleans, Arthur Hardy Enterprises, 2003. p. 51.

106 111. [Mardi Gras], Krewe of Nereus, ball invitation, envelope and admit card, 1898, theme “The Inferno”, (3 pcs.) $700/900 Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, pp. 91-2; and Arthur Hardy’s Mardi Gras in New Orleans, Arthur Hardy Enterprises: New Orleans, 2003.

108

W 112. [Mardi

Gras], Krewe of Nereus, ball invitation and dance card with pencil, 1903, theme “The Birth of the Water Lily”, (2 pcs.)

110

$500/700 113

W 107. [Mardi Gras], Elves of

Oberon, dance card with pencil, 1903, theme “When Folly Rules”, (1 pc.) $300/500 Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 88.

111

106. [Mardi Gras], Elves of Oberon, dance card, 1901, theme “The Island of Dreams”; dance card with pencil, 1911, theme “The Children of Fable and Fiction”; and dance card with pencil, 1914, theme “Le Grand Trianon”, (3 pcs.) $500/700

20

108. [Mardi Gras], Elves of Oberon, ball invitation, envelope and dance card with pencil, 1905, theme “The Secret of the Sphinx”, (3 pcs.) $500/700

113. [Mardi Gras], Krewe of Nereus, ball invitation, envelope, admit card, call-out card, and dance card with pencil, 1905, theme “A Glimpse of Old Japan”, (5 pcs.) $700/900 W 114. [Mardi Gras], Krewe of Nereus,

ball invitation and dance card with pencil, 1911, theme “The Garden of the Gods”, (2 pcs.) $300/500 W 115. [Mardi Gras], Krewe of Nereus,

invitation and envelope, 1913, theme “Music, Rhyme and Song”, (2 pcs.) $400/600

116. [Mardi Gras], High Priests of Mithras, ball invitation, envelope and four admit cards, 1904, theme “The Story of Shah Nemah”, (6 pcs.) $600/900 Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 96.

W 117. [Mardi Gras], High

Priests of Mithras, ball invitation and envelope, 1906, theme “The Vision of Jacob”, (2 pcs.)

116

$300/500 122

W 118. [Mardi Gras], High

Priests of Mithras, ball invitation, envelope and dance card, 1909, theme “Mary, Mary, Quite Contrary”, (3 pcs.) $500/700 W 119. [Mardi Gras], High

Priests of Mithras, ball invitation, envelope and two admit cards, 1912, theme “Legend of the Land of the Gods (Princess Firefly)”, (4 pcs.)

120

$500/700 120. [Mardi Gras], The Phunny Phorty Phellows, pop-up ball program, envelope and two admit cards, 1882, theme “The Days We Celebrate”, (4 pcs.)

125

$800/1200 W 121. [Mardi Gras],

W 124. [Mardi Gras], The Falstaffians,

Consus, ball invitation and envelope, 1897, theme “Sherwood”, (2 pcs.)

$200/300

dance card, 1901, theme “Sir John’s Army”, (1 pc.)

$500/700 125. [Mardi Gras], The Falstaffians, ball invitation, envelope and admit card, 1904, theme “The Birth of the Butterfly”, (3 pcs.)

Condition: Admit card torn into pieces.

122. [Mardi Gras], Consus, ball invitation, envelope and dance card with pencil, 1898, theme “The Meeting of King Henry VIII of England and King Francis I of France on the Field of the Cloth of Gold”, (3 pcs.)

123. [Mardi Gras], Consus, dance card with pencil, 1901, theme “Shakespeare and His Creations”, (1 pc.)

$600/900

$300/500

Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, pp. 155-6.

Note: Illustrated in Henri Schindler’s Mardi Gras Treasures, Invitations of the Golden Age, Pelican Publishing Company: Gretna, 2000, p. 157; and illustrated on the cover of the first edition of Perry Young’s The Mistick Krewe, Chronicles of Comus and his Kin.

123

$500/700 W 126. [Mardi Gras], The Falstaffians, ball

invitation and envelope, 1905, theme “The Wooing of Endymion by the Moon Goddess (from William Morris)”, (2 pcs.) $400/600

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

21

132. [Mardi Gras], costume girdle, c. 1900, hand-painted brass, marked with masker’s placement/position number, partially obscured by pin. $200/300 Note: The Louisiana State Museum’s Mardi Gras Collection includes similar examples from c. 1900.

133. [Mardi Gras], a costume necklace of red and green “paste” jewels, c. 1880. $300/500 133 134. [Mardi Gras], a costume necklace of green “paste” jewels, c.

1880.

130

$300/400 135. [Mardi Gras], probably Krewe of Proteus, 1914, theme “Gerusalemme Liberata”, costume necklace set with a cross and glass “coral” beads. $300/500 Note: “Gerusalemme Liberata” was the last of the Proteus balls designed by Jennie Wilde, whose grandfather had translated the epic poem into English.

132 134

W 136. [Mardi Gras], a pair of

W 127. [Mardi Gras], The Falstaffians, admit card,

costume cuff bracelets set with blue “paste” jewels, late 19th c.

1906, theme “Fridthjof the Valiant”, (1 pc.) $150/250

$400/600

W 128. [Mardi Gras], Les Inconnues, ball invitation,

$200/400

137. [Mardi Gras], bejeweled brass costume sword, early 20th c., marked with masker’s placement/position number 73, retains bright gilt surface.

W 129. [Mardi Gras], The Mittens, ball invitation and

$200/300

1904, (1 pc.)

dance card with pencil, 1909, (2 pcs.) $400/600

W 138. [Mardi Gras], a pair of

costume ornaments set with blue and white “paste” jewels, c. 1900.

130. [Mardi Gras], Krewe of Proteus, 1884, theme “The Aeneid”, two brass costume helmets, probably French, one retaining original horsehair and marked with masker’s placement/position number, 101.

$200/400 Note: The Louisiana State Museum’s Mardi Gras Collection includes similar examples.

These ornaments were sewn onto the costumes.

$400/600 Note: The Louisiana State Museum’s Mardi Gras Collection includes similar examples from the 1880s.

135

W 131. [Mardi Gras], brass costume scimilar and

dagger, c. 1900. $300/500

137

22

W 139. [Mardi Gras], a group of Art

Nouveau bejeweled costume fragments, late 19th/early 20th c., including two buckles and a turban ornament. $200/300 W 140. [Mardi Gras], Rex, 1903, loving

cup, theme “Feasts and Fetes”, retains some matte and burnished gilt surfaces. $300/500 Note: Illustrated in Errol Laborde’s Mardi Gras, Chronicles of the New Orleans Carnival, Pelican Publishing Company: Gretna, 2013, p. 148.

142 141. [Mardi Gras], Rex, 1905, gilt trumpet vase with original box, theme “Idealistic Queens”, retains some bright gilt surface. $300/500 141 142. [Mardi Gras], Rex, 1906, pin cushion, theme “In Utopia”, retains some bright gilt surface and bright purple velvet. $300/500 W 143. [Mardi Gras], Rex, 1907, jewelry

box, theme “Visions of Nations”. $300/500

146

Note: Illustrated in Errol Laborde’s Mardi Gras, Chronicles of the New Orleans Carnival, Pelican Publishing Company: New Orleans, 2013, p. 148; and Stephen W. Hales’ Rex, an Illustrated History of the School of Design, Arthur Hardy Enterprises: New Orleans, 2010, p. 74.

W 144. [Mardi Gras], Rex, 1909, Art

Nouveau vase, theme “The Treasures of the King”. $200/400 145. [Mardi Gras], Rex, 1910, letter opener with original box, theme “The Freaks of Fable”, retains original matte and burnished gilt surfaces. $400/600 Note: Illustrated in Stephen W. Hales’ Rex, an Illustrated History of the School of Design, Pro Bono Publico, Arthur Hardy Enterprises: New Orleans, 2010, p. 75.

146. [Mardi Gras], Rex, 1911, inkwell with glass ink pot, theme “Arts and Sciences”, retains matte and burnished gilt surfaces. $400/600

145

147. [Mardi Gras], Rex, 1912, hand mirror with original box, theme “Phases of Nature”, bright gilt surface.

147

W 149. [Mardi Gras], Rex, 1914, silverplate

$300/500 Note: Illustrated in Stephen W. Hales’ Rex, an Illustrated History of the School of Design, Pro Bono Publico, Arthur Hardy Enterprises: New Orleans, 2010, p. 75.

W 148. [Mardi Gras], Rex, 1913,

silverplate pin tray with original box, theme “Enchantments and Transformations”.

loving cup, theme “The Drama of the Year”. $150/250 W 150. [Mardi Gras], Rex, 1915, ceramic and

silver deposit sugar bowl with original box, theme “Fragments from Song and Story”. $300/500

$300/500

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

23

W 151. [Mardi Gras], Mystick

W 160. [Mardi Gras], Rex,

(sic) Krewe of Comus, February 24, 1903, theme “A Leaf from the Mahabharata”, parade bulletin, lithographer T. Fitzwilliam & Co., unframed, sheet 28 in. x 42 in.

February 20, 1912, theme “Phases of Nature”, parade bulletin, lithographer Walle & Co., unframed, sheet 28 in. x 42 in. $400/600

$500/700 W 161. [Mardi Gras], Rex, W 152. [Mardi Gras], Mystick

February 20, 1917, theme “The Gifts of the Gods to Louisiana”, parade bulletin, lithographer Walle & Co., unframed, sheet 28 in. x 42 in.

(sic) Krewe of Comus, February 16, 1904, theme “Izdubar”, parade bulletin, lithographer T. Fitzwilliam & Co., unframed, sheet 28 in. x 42 in.

153

$500/700

$500/700 W 162. [Mardi Gras], Knights

153. [Mardi Gras], Mystick (sic) Krewe of Comus, February 28, 1911, theme “Familiar Quotations”, parade bulletin, float designer Jennie Wilde, lithographer Walle & Co., unframed, sheet 28 in. x 42 in.

of Momus, February 17, 1887, theme “Myths of the New World”, parade bulletin, lithographer T. Fitzwilliam & Co., unframed, sheet 28 in. x 42 in. $400/600

$500/700 W 163. [Mardi Gras], Knights W 154. [Mardi Gras], Mystick

of Momus, March 2, 1905, theme “Vathek”, parade bulletin, float designer Jennie Wilde, lithographer Walle & Co., unframed, sheet 28 in. x 42 in.

(sic) Krewe of Comus, February 4, 1913, theme “Time’s Mysteries”, parade bulletin, lithographer Walle & Co., unframed, sheet 28 in. x 42 in. $500/700

157

W 155. [Mardi Gras], Rex,

$500/700 164. [Mardi Gras], Knights of Momus, February 7, 1907, theme “The Quest of the Fountain of Youth”, parade bulletin, lithographer Walle & Co., unframed, sheet 28 in. x 42 in.

February 27, 1887, theme “Music and Popular Airs”, parade bulletin, lithographer M.F. Dunn & Bro., unframed, sheet 28 in. x 42 in. $400/600

$500/700 W 156. [Mardi Gras], Rex, W 165. [Mardi Gras], Knights

February 24, 1903, theme “Fetes and Feasts”, parade bulletin, lithographer Walle & Co., unframed, sheet 28 in. x 42 in.

of Momus, February 18, 1909, theme “Signs and Superstitions”, parade bulletin, lithographer Walle & Co., unframed, sheet 28 in. x 42 in.

$500/700 Note: Illustrated in Stephen W. Hales’ Rex, an Illustrated History of the School of Design, Arthur Hardy Enterprises: New Orleans, 2010, p.

129.

157. [Mardi Gras], Rex, March 7, 1905, theme “Idealistic Queens”, parade bulletin, lithographer Walle & Co., unframed, sheet 28 in. x 42 in. $500/700

24

$400/600 164 W 166. [Mardi Gras], Knights W 158. [Mardi Gras], Rex, February 23, 1909, theme “The

Treasures of the King”, parade bulletin, lithographer Walle & Co., unframed, sheet 28 in. x 42 in. $500/700

of Momus, February 23, 1911, theme “The Language of Flowers”, parade bulletin, lithographer Walle & Co., unframed, sheet 28 in. x 42 in. $500/700

W 159. [Mardi Gras], Rex, February 8, 1910, theme “The Freaks of

Fable”, parade bulletin, lithographer Walle & Co., unframed, sheet 28 in. x 42 in. $500/700

W 167. [Mardi Gras],

Knights of Momus, January 30, 1913, theme “Above the Clouds”, parade bulletin, lithographer Walle & Co., unframed, sheet 28 in. x 42 in. $500/700 168. [Mardi Gras], Krewe of Proteus, February 22, 1887, theme “Andersen’s Fairy Tales”, parade bulletin, lithographer T. Fitzwilliam & Co., unframed, sheet 28 in. x 42 in.

175 168

$400/600 W 169. [Mardi Gras],

Krewe of Proteus, February 23, 1903, theme “Cleopatra”, parade bulletin, lithographer T. Fitzwilliam & Co., unframed, sheet 28 in. x 42 in. $500/700 178

W 170. [Mardi Gras],

Krewe of Proteus, March 6, 1905, theme “The Rubaiyat”, parade bulletin, lithographer T. Fitzwilliam & Co., unframed, sheet 28 in. x 42 in.

173

W 176. Two Sterling Silver and

Enamel Mardi Gras Souvenir Spoons, late 19th/early 20th c., Mechanics Sterling Co., Attleboro, MA, length 5 7/8 in., weight 1.65 troy ozs.

$500/700

$150/250 W 171. [Mardi Gras],

177. De Ficoroni, Francesco, Le Maschere Sceniche e le Figure Comiche d’Antichi Romani, 1732, Roma, (9 1/2 in. x 6 1/2 in.), half-title with engraved vignette, with 85 engraved plates of Roman masks, one folding, full calf, gilt title, marbled endpapers.

Krewe of Proteus, March 2, 1908, theme “The Light of Asia”, parade bulletin, lithographer T. Fitzwilliam & Co., unframed, sheet 28 in. x 42 in. $500/700

$700/1000

177 W 172. [Mardi Gras],

Krewe of Proteus, February 7, 1910, theme “Astrology”, parade bulletin, lithographer T. Fitzwilliam & Co., unframed, sheet 28 in. x 42 in. $500/700 173. [Mardi Gras], Krewe of Proteus, February 19, 1912, theme “Zoroaster”, parade bulletin, lithographer Walle & Co., unframed, sheet 28 in. x 42 in.

W 174. [Mardi Gras], Krewe of Proteus,

February 15, 1915, theme “Famous Lovers of the World”, parade bulletin, lithographer Walle & Co., unframed, sheet 28 in. x 42 in. $500/700 175. [Mardi Gras], Rex Ducal Badge, 1880, theme “The Four Elements”. $500/1000

178. A Very Fine Gold Locket, c.

1870, gold unmarked, probably 15 kt., exterior with engraved strapwork decoration, interior with presentation inscription “to ESC from HRH Princess Louise” and photograph of Princess Louise (1848-1939). $800/1200 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

$500/700 W denotes the lot is illustrated at www.nealauction.com

25

181. A Double Strand Cultured Pearl Necklace with 14 kt. White Gold, Diamond and Cultured Pearl Clasp, the pearls of light rosé color, ranging from 8.5 to 9.5 mm. $5000/7000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

180

182. A Double Strand Cultured Pearl Necklace with 18 kt. White Gold and Diamond Clasp, 99 pearls ranging from 7-7.5 mm., the clasp set with 3 single cut diamonds, marked “Manning”, interior length 15 1/4 in. $500/700

179

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

179. An Antique Yellow Gold, Pavé Persian Turquoise and Rose-Cut Diamond Locket/Watch; together with a yellow gold and old mine cut diamond fleur-de-lis watch pin.

W 183. An Opera Length

Necklace of 10-11 mm.

Gray Baroque Cultured Pearls. $300/500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

$800/1200 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

184. An Antique American Yellow Gold and Diamond Bracelet, mid-19th c., approx.

1.5 ct. total diamonds.

180. An Edwardian 15 kt.

Yellow Gold, Oriental Pearl and Half Pearl Tiara, in original fitted case marked “The Goldsmiths and Silversmiths Co. Ltd. 112 Regents St. London, Jewelers to the King”, with pearl and gold chain attachment to convert to a collar necklace; together with an associated pair of half pearl and diamond earrings.

$2000/3000

181

$2000/3000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

184

182

26

185. An Edwardian-Style 18 kt. White Gold, Yellow Gold and Diamond Necklace, set with 7 full cut diamonds in bezel settings, approx. 1.3 ct total diamonds. $1800/2400 186. A Retro Platinum and Diamond Cluster Ring, center round diamond approx. .85 ct., two round diamonds totaling approx. 1 ct., and 26 small round diamonds totaling approx. .75 ct., center stone H color, I-2 clarity, two rounds I1-2 and SI 1-2, small stones SI1-2 clarity.

186

$2000/3000 W 187. A 14 kt. White Gold, Cultured

Pearl and Diamond Bracelet, four strands of 5-6 mm. pearls with three white gold and diamond bars, the oblong clasp set with 42 full cut and single cut diamonds totaling approx. .5 ct.

185

$800/1200 188. An American Art Nouveau 14 kt.

Yellow Gold and Diamond Locket, circular with grape and grapeleaf decoration, set with 14 small single cut diamonds, back with engraved monogram.

188

$400/600 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

191

189. A Platinum and Diamond Cluster Ring, set with center European cut diamond, approx. 1.4 ct., color H-I, clarity VS1-VS2, and 23 small round single cut diamonds (missing 1 diamond).

189

$4000/6000 W 190. A 14 kt. White and Yellow Gold and

Diamond Ring, set with 3 European cut diamonds, totaling approx. .50 ct. $600/800 194 191. An Art Deco Platinum and Diamond Flexible Bracelet, set with a European cut center diamond, 2 marquise diamonds and 92 small single cut and European cut diamonds, approx. 2 cts. total.

Bar Pin, set with a small full cut diamond and 2 triangular sapphires.

193. An 18 kt. Yellow Gold, White Gold, Cabochon Emerald and Diamond Ring, set with a “sugar loaf� cabochon emerald, approx. 6-7 cts., surrounded by 34 full cut round diamonds totalling approx. 1 ct. (1 missing), now with a 14 kt. gold adjustable insert.

$300/500

$2000/3000

$3000/5000 W 192. An American 14 kt. White Gold Filigree

193

194. An 18 kt. Yellow Gold, White Gold, Amethyst and Diamond Ring, set with a fine oval faceted amethyst, approx. 8-10 cts., surrounded by two rows of 20 full cut diamonds totalling approx. 1.6 cts., now with a 14 kt. gold adjustable insert. $1200/1800

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

27

195

196

197

197. A 14 kt. White Gold, Cultured Pearl and Diamond Brooch and Earring Set, brooch set with fourteen 5-6.5 mm. pearls and round brilliant cut diamonds, height 2 3/4 in.; each earclip with four 6.25 mm. pearls and two central round brilliant cut diamonds. $800/1200 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 200

198. A 14 kt. Yellow Gold, White Gold and Diamond Horseshoe Brooch, marked, set with 29 full cut diamonds, totalling approx. 1.75 cts. $500/800 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

198

199. A Pair of 14 kt. Yellow Gold and Diamond Ear Clips, signed “Danfrere”, triple band hoop earrings set with 46 full cut diamonds, totalling approx. 1 ct. $800/1200 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

201

196. A 14 kt. Yellow Gold, Topaz and Diamond Pendant/ Pearl Enhancer, set with a cushion-shape precious topaz, approx. 8 cts., and 4 full cut diamonds. $1000/1500 199

200. A 14 kt. Yellow Gold, Blue Enamel, Sapphire and Diamond Ring. $400/600 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 201. A 14 kt. Yellow Gold, Diamond and Pearl Dome-Shaped Ring, set with a 15 mm. South Sea pearl surrounded by 104 full cut diamonds totalling approx. 2 cts. $2000/3000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

195. A 14 kt. Yellow Gold and Aquamarine Pendant/Pearl Enhancer, set with a large emerald-cut aquamarine, approx. 10 cts. $1000/1500

28

202

204

202. An 18 kt. Yellow Gold, Carved Amethyst and Diamond Brooch and Earring Set, signed “CK”, each in the form of a bunch of violets with enameled leaves and single cut diamonds. $1000/2000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

203

203. A Pair of 14 kt.

Yellow Gold and Diamond Pavé Ear Clips, set with 38 full cut diamonds, totalling approx. 1 ct., weight 14 dwts. $1000/1500 204. Henri Matisse (French, 1869-1954), “Odalisque”, 1929, lithograph, signed and dated lower left in plate, edition 100, titled on label on frame backing, 10 1/4 in. x 13 1/4 in., framed.

205

W 207. Berthe Morisot (French, 1841-1895), “Jeune

Femme au Repos”, 1889, etching, titled in “Kovler Herman Gallery, Chicago” label en verso, 3 in. x 4 3/8 in., framed. $500/700

$2000/3000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 205. Man Ray (American, 18901976), “Beach (Mon prèmier amour; pour Éluard)”, colored etching, signed lower right, numbered “78/100” lower left, 18 5/8 in. x 14 7/8 in., framed with Plexiglas®. $800/1200 Provenance: Joel N. Weinstock Collection, New Orleans.

208

W 206. A Group of Eleven

Continental School Prints, including works by Cornelius Bega, Jacques Beurdeley, Felix Buhot (engraving and lithograph), Norbert Goeneutte, Axel Haig, Raymond Jones, Gustave Leheutre (2), W. Douglas Macleod and Ian Strang.

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 208. Pierre-Auguste Renoir (French, 1841-1919), “Louis Valtat”, 1904, lithograph, edition of 250 from Douze Lithographies Originales de Pierre-Auguste Renoir published 1919 by Ambrose Vollard, signed in plate lower right, titled on “Kovler Gallery, Chicago” label on frame backing, 12 3/4 in. x 9 3/8 in. $700/1000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

$1000/1500 W denotes the lot is illustrated at www.nealauction.com

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209

211

212

210

209. Pierre-Auguste Renoir (French, 1841-1919), “La Pierre aux Trois Croquis”, c. 1904-1905, lithograph, signed lower left, numbered “LD41 in pencil lower left margin, from Douze Lithographies Originales de Pierre-Auguste Renoir, published 1919 by Ambroise Vollard, titled and dated on “Kovlar Gallery, Chicago” label en verso, 9 1/4 in. x 11 3/8 in., framed.

$3000/5000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 212. A Philip LaVerne (1908-1988) and Kelvin LaVerne (b. 1936) Bronze and Pewter Coffee Table, 1960s, New York, “Chan” series, rectangular frame inset with cascading top etched with the Chinese theme of the “Spring Festival”, raised and incised signatures of “Kelvin Phillip LaVerne”, height 15 in., width 53 in., depth 20 in.

$700/1000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 210. Pierre-Auguste Renoir (French, 1841-1919), “Étude pour Une Baigneuse”, c. 1906, etching, signed lower right, titled and dated in pencil en verso and on “Kovler Gallery, Chicago” label on frame backing, 8 3/4 in. x 6 1/2 in., framed.

$3000/5000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

$700/1000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

211. A Philip LaVerne (19081988) and Kelvin LaVerne (b. 1936) Bronze and Pewter Coffee Table, 1960s, New York, “Chan” series, rectangular frame inset with cascading top etched with the Chinese theme of the “Spring Festival”, raised signature “Phillip Kelvin LaVerne”, incised signature “Kelvin Phillip LaVerne”, height 15 in., width 53 in., depth 20 in.

213

213. François Gall (French/ Hungarian, 1912-1987), “Lady in Blue“, oil on canvas, signed lower left, 18 1/4 in. x 15 1/8 in., framed. $5000/8000

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214

215

214. George Rodrigue (American/Louisiana, 1944-2013), “Blue Dog under the Night Sky with Oak”, 1992, mixed media with silkscreen and acrylic paint on canvas board, signed lower left, 14 in. x 11 in., framed. $7000/9000 Provenance: Purchased from the artist, Rodrigue Studio, New Orleans, LA. Note: Beginning in 1990, George Rodrigue occasionally broke from the detailed compositions of his larger canvases by experimenting with mixed media. He would embellish silkscreens, or as in the case of the three paintings offered here, the artist would choose certain Blue Dog designs to print on plywood or canvas board and then alter the image with original paint applied by his own hand. The style of these painted additions was often more like sketching or improvisation and echoed the same motifs that can be seen in Rodrigue’s work throughout his career, such as the moon, sun, stars, and oak tree. These early examples are playful, colorful and represent an important moment in the Blue Dog series.

Reference: Rodrigue, Wendy. “Blue Dog: Mixed Media” Musings of an Artist’s Wife. July 27, 2010. www. wendyrodrigue.com. Accessed October 15, 2014.

215. George Rodrigue (American/Louisiana, 1944-2013), “Blue Dog with Moon”, 1992, mixed media with silkscreen and acrylic paint on canvas board, signed lower left, 14 in. x 11 in., framed. $7000/9000 Provenance: Purchased from the artist, Rodrigue Studio, New Orleans, LA. 216. George Rodrigue (American/Louisiana, 1944-2013), “Blue Dog with Cypress Tree”, 1992, mixed media with silkscreen and acrylic paint on canvas board, signed lower left, Rodrigue Gallery stamp en verso, 14 in. x 11 in., framed. $7000/9000

216

Provenance: Purchased from the artist, Rodrigue Studio, New Orleans, LA. W denotes the lot is illustrated at www.nealauction.com

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220

223. An American Art Deco Sterling Silver Water Pitcher, Charter Company, wc.

1930-1942, CT, plain ovoid body, incurved neck, stylized molded band at shoulder and another as circular foot, hollowcast angular handle, height 8 1/2 in., weight 30.35 troy ozs.

217

217. François Gall (French/Hungarian, 1912-1987), “Still Life with Flowers and Peaches”, oil on canvas, signed lower right, 18 1/4 in. x 15 in., framed. Note: Cracquelure. $3000/5000 W 218. A Tall Brilliant

Iridescent Zsolnay Art Pottery Vase, c. 1900, Eosin glaze, marked, height 15 1/2 in.. $700/1000 W 219. A Continental

Gem and Porcelain Embellished Gilt Metal Music Box, late 19th c., with amethysts, seed pearls, and polychrome painted porcelain scene of a couple, three interior compartments, one with gilt bronze clock, height 2 1/2 in., width 8 in., depth 4 in. $250/350 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

220. A Pair of Neoclassical-Style Gilt Bronze Mounted Verdigris Marble Urns, early 20th c., scroll work handles, plinth base, now mounted as lamps, overall height 34 1/2 in., width 9 in., depth 6 1/2 in. $1000/1500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

223

W 221. Two Continental

224. An American Art Nouveau Sterling Silver Bowl, marked “SHREVE & CO/ SAN FRANCISCO/ STERLING” in cursive, late 19th/ early 20th c., lobed circular bowl, applied cast and reticulated shaped rim of scrolling foliage and flowers, slightly domed bottom, height 3 in., diameter 12 1/4 in., weight 11.75 troy ozs.

Tôle Peinte Lemon Topiaries, mounted in barrel form jardinières, height 19 1/2 in. and 20 1/2 in. $500/700 W 222. A Pair of

Venetian Mirror and Patinated Bronze TwoLight Sconces, early 20th c., backplate with figure surrounded by foliate garniture, scrolled candlearms, electrified, height 13 in., width 6 3/4 in., depth 5 in. $300/500 224

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$500/800

$800/1200

225. An 18 kt. Yellow Gold, White Gold, Natural Emerald and Diamond Dome Ring, set with an oval faceted emerald surrounded by two rows of single-cut diamonds, now with a 14 kt. gold adjustable insert. $1000/2000

225

226. An 18 kt. White Gold, Aquamarine and Diamond Ring, set with a cushion-cut aquamarine, approx. 6 cts., surrounded by two rows of 18 full cut diamonds totalling approx. 1.8 cts., now with a 14 kt. gold adjustable insert.

230

W 233. An

American Yellow Gold and Coral Cameo Ring, gold unmarked, probably 14 kt.

$3000/5000 W 227. A 14 kt.

Yellow Gold and Smoky Quartz Pendant/Pearl Enhancer, set with a large round faceted smoky quartz.

226

$200/300 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

$200/300

W 234. Two

W 228. A 14 kt.

Yellow Gold and Citrine Pendant/ Pearl Enhancer, set with an emerald-cut fine citrine. $200/300 229. A 14 kt. Yellow Gold, White Gold, Kunzite and Diamond Ring, set with a large pear-shaped faceted kunzite surrounded by 38 full cut diamonds totalling approx. 1 ct., now with a 14 kt. gold adjustable insert.

231 229 231. A 14 kt. Yellow Gold, White Gold, Turquoise, Diamond, Pearl and Coral “Bodhisattva” Brooch, signed “Trio”. Note: Missing 1 pearl. $1000/1500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

$1500/2500 230. A 14 kt. Yellow Gold Charm Bracelet, with three 14 kt. yellow gold and gemstone charms, weight 54 dwts.

232. A 14 kt. Yellow Gold, Coral, Diamond and Persian Turquoise Cocktail Ring, central lobed coral surrounded by brilliant cut diamonds and turquoise beads, attached ring guard.

Coral and Yellow Gold Bead Necklaces, one with fortyeight 9.5 mm. coral beads, eighteen pierced gold beads and six gold bars, interior length 30 in.; the other with fortyseven 9.5 mm. coral beads, fortyfour 7 mm. white pearls and five pierced gold beads, interior length 30 in. $300/500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

$800/1200 232

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

$1800/2500

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

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238. A Pair of 18 kt. Yellow Gold, Mabé Pearl, Diamond and Cabochon Ruby HeartShaped Ear Clips, diamonds totally approx. .5 ct. $800/1200 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

235

237

239. An 18 kt.

White Gold, Diamond, Blue Topaz and Ruby Pendant/Pearl Enhancer, set with a pear-shaped blue topaz, a pearshaped ruby, 2 marquise cut diamonds and 22 full cut diamonds. $1000/1500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 240. A Set of Twelve Mexican Sterling Silver Beakers, Mexico City, c. 1980, eight by Juventino Lopez Reyes and four by A. Torres Vega; raised tapered cylindrical forms, each having three applied circular discs and incised horizontal lines, height 3 1/4 in., combined weight 72.25 troy ozs.

239 238 235. A Pair of Italian 14 kt.

Yellow Gold, Pink Coral and Diamond Ear Clips.

$1000/2000

$800/1200 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. W 236. A Pair of 14 kt. Yellow

Gold, Persian Turquoise and Old Mine Cut Diamond Ear Clips. $400/600 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 240 237. A Demi-Parure of 18 kt.

Yellow Gold, Platinum, Ruby and Diamond Jewelry, signed Rothschild’s, New Orleans, comprising a ring, pair of earrings and necklace slide, each set with two round and two oval natural Oriental rubies and numerous small fine full cut and emerald-cut diamonds; rubies totally approx. 5 cts.; together with a Portuguese 19.2 kt. yellow gold snake choker, weight 29 dwts. $10000/15000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

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241

241. An American Coin Silver “Medallion” Punch Ladle, unmarked, probably Wood & Hughes, New Orleans presentation inscription “Presented/ to/ Secretary/ Ferdinand Marks/ by the/ Deutches Company/ N.O. Feb. 23rd/ 1869” on reverse of oval medallion cast bust of Mercury; circular shaft with decorative knops terminating in a large gilt washed lobed bowl, length 15 1/4 in., weight 9.05 troy ozs. $400/600

242. A Good American Sterling Silver Centerbowl, Frank W. Smith Co., Inc., Gardner, MA, ret. T. Hausmann & Sons, New Orleans, 1894-1906; marked with Smith trademark, “T. HAUSMANN & SONS”, “STERLING” incuse, and “2971”, large lobed circular bowl, slightly domed bottom, wide flared rim with embossed scrolls, foliage and shells, height 3 3/8 in., width 15 9/16 in., weight 32.65 troy ozs. $1000/1500 243. Four Gorham Sterling Silver “Medallion” Tablespoons, marked “PAT. 1864”, Gorham trademark with lion facing right and each marked “STERLING” Roman capitals incuse, single faced, length 8 1/2 in., combined weight 7.90 troy ozs.

242

247

$250/500 Note: Gorham’s “Medallion” pattern was designed by George Wilkinson.

Reference: Carpenter, Charles H. Gorham Silver 1831-1981, p. 49.

W 244. A Pair of

Gorham Sterling Silver Columnar Candlesticks, early 20th c., stepped square base, fluted columnar shaft with Corinthian capitals, removable bobêche with beaded border, height 8 1/2 in.

246 243 246. A Set of Ten Baltimore Sterling Silver Repoussé Goblets, nine by Schofield Co., Inc., Baltimore, Maryland, 1sthalf 20th c., one by Reed & Barton; heavy repoussé chased flowering foliage on bell-shaped cups, acanthus leaves forming a vacant reserve on one side, repoussé chased flowers and foliage encircle upperface of stepped pedestal base, applied leaf and dart band at vertical foot, height 6 1/8 in., combined weight 104.40 troy ozs.

$300/500 245. A Pair of Georgian Sterling Silver Casters, marks not identified, with stoppers apparently unmarked.

$1000/2000 247. A Gorham Sterling Silver “Medallion” Goblet, 19th c., tapered circular bowl with flat chased decoration and applied circular medallions depicting Diana facing left and on the opposite side Apollo facing right; applied Greek key border at rim and juncture of bowl with the pedestal base, flat chased band on upperface of foot, gilt interior, height 6 1/2 in., weight 7.95 troy ozs.

$500/700

$500/750 245

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

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250. An EmpireStyle Patinated Bronze and Marble Mantel Clock, the Egyptian style temple surmounted by a sphinx, flanked by griffins, gilt-incised base centered by a mask, height 16 in., width 19 1/2 in., depth 6 3/4 in. $1000/1500 248

250

252

251. A Louis Philippe Gilt Bronze Figural Mantel Clock, c.

1830, modeled with a 16th c. lady in court dress reading a letter beside a writing desk, striking bell movement, enameled dial, tall plinth base cast with fruit garlands and acanthine, bracket feet, height 18 in., width 14 1/4 in., depth 5 3/4 in. $800/1200 252. A Pair of Roman-Style Marble Feet, 20th c., after the 1st c. Greco-Roman Antique, height 8 in., width 15 in.

251

248. A Pair of Empire Gilt Brass Candlesticks, c. 1820, urn form candlecups, cylindrical standards with fishscale and quatrefoil decoration, circular base with trellis pattern borders, height 10 1/2 in., diameter 4 3/4 in.

$1200/1800 253. A Pair of Continental Figural Bronze Andiron Finials, 19th c., cast as figures of Mercury and Flora, each standing on the head of the wind god Zephyr, height 14 3/4 in., later mounted on brass pedestals, overall height 20 in.

$600/900 W 249. A French-Style Silverplate

Adjustable Bouillotte Lamp, 20th c., single candlecup, adjustable arms, flared quadripartite base, scrolled acanthine feet, conical shade, height 25 in. $500/700

$800/1200

253

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254. A French Bronze and Champlevé Desk Compendium, 20th c., incorporating a clock and barometer, beveled glass panels, T-handle, height 5 1/4 in., width 5 in., depth 2 1/8 in. $500/700 255. An Austrian Rococo Enameled and Silvered Bronze Cabinet Clock, c. 1790, movement signed “Andreas Hochendl in Wien, N. 26”, oval case surmounted by a rooster, raised on an elephant, the back of case and base with painted reserves of courting couples with putti, mounted with masques, figural key with enameled fob, height 7 in., width 2 1/2 in., depth 2 1/2 in. $1200/1800 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 254 256. A Continental Carved Turquoise, Gilt Bronze and Rose Quartz Cabinet Clock, c.

1920, 8-day Swiss movement by Zenith, in the Chinoiserie taste, surmounted by a Buddhist lion, the figure supporting the case with outstretched arm, on circular quartz base, height 7 1/8 in., diameter 4 in.

255

$800/1200 257. A Sterling Silver Magnum Wine Coaster, relief decorated putti and lion in vintage Classical scene, foliated border with acanthus decorated circular base, on original turned hardwood base, marked on lower rim.

257

$600/900 258. An American Sterling Silver Repoussé Center Bowl, Tiffany & Co. Makers, 1887, marked “TIFFANY & Co/9447MAKERS4493/STERLING SILVER/925-1000/M” and “6 1/2 PTS”, floral and scroll repoussé and chasing, fern and flower rim, paw feet, well engraved with period script monogram, underside with presentation inscription “From/Caldwell H. Colt/Oct. 29th, 1887”, height 4 1/8 in., diameter 9 3/4 in., weight 28.75 troy ozs. $1500/2500 Provenance: Gift of Caldwell Hart Colt to Annie Marshall Phelps and Hugh Harbison at their wedding; descended in the Harbison family of Hartford, CT. Caldwell H. Colt was the son of Samuel Colt, founder of Colt’s Patent Firearms Manufacturing Company; he designed the Colt double barrel rifle himself. Hugh Harbison was treasurer of Colt’s Patent Firearms Company.

258 256

259. An Art Deco French First Standard Silver Jewelry Box, Cardeilhac, Paris, lozenge shape with conforming hinged cover, sides and cover set with faux “ivory” and “tortoiseshell”, raised on silver-mounted blocked feet, cushioned interior, front panel with escutcheon, height 4 1/2 in., width 15 7/8 in., depth 10 1/4 in.

259

$3500/4500

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

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262. A Cartier 18 kt. Yellow Gold, Sapphire and Diamond Frog Brooch, set with 30 round faceted sapphires and 7 round faceted diamonds. $2500/3500 263. Two 18 kt. Yellow Gold and Gem-Set Butterfly Brooches, one set with emeralds, diamonds and rubies, the other with emeralds, diamonds and sapphires.

260

$2000/3000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

262

264. Three 14 kt. Yellow Gold, Hardstone and Half Pearl Bangle Bracelets, set respectively with cabochon and faceted rubies and half pearls, cabochon and faceted sapphires and half pearls, and cabochon and faceted emeralds and half pearls. $2500/3500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 263

261

264

266

260. A Platinum and Diamond Ring, set with a 7.11 ct. emerald-cut diamond, K-L color, VS-1 clarity, flanked by 6 baguette diamonds totaling 1.20 ct.; accompanied with a European Gemological Laboratory Diamond Certificate for the center stone. $60000/80000

261. An Antique Art Deco Platinum, Emerald and Diamond Clip, bezel set with one approx. 6.25 ct. emerald-cut emerald, one approx. 2 ct. pear-shaped emerald, two pear-shaped emeralds with an approx. total weight of 1.5 ct., one approx.

1.2 ct. emerald-cut diamond, one approx. .15 ct. trapezoidal diamond, channel set with 10 shaped baguette diamonds graduated in size with an approx. total weight of 1 cts., three baguette-cut diamonds graduated in size with an approx. weight of .18 ct., seven pave set single-cut diamonds with an approx. total weight of .21 ct. and thirty-six full cut diamonds with an approx. total weight of 1.80 ct., clip has safety chain and pin, approx. 12.19 dwts., appraisal available with approx. GIA diamond grading. $12000/18000

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W 265. A Swiss “Cyma” 18 kt. Yellow Gold

and Diamond Lady’s Wristwatch, with mother-of-pearl face, diamond markers and bezel and leather strap; together with a Swiss Bucherer lady’s wristwatch. $400/600 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 266. A White Gold, Sapphire and Diamond Pendant/Pearl Enhancer, gold unmarked, probably 18 kt., set with a pear-shaped sapphire, approx. 1 ct., 15 round sapphires totalling approx.

1.5 cts., and 30 fine full cut round diamonds, totalling approx. 2.8 cts.; designed for a double strand of pearls. $2500/3500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

267. An 18 kt.

White Gold, Ruby and Diamond MarquiseShaped Clasp, set with 15 fine round rubies, totalling approx. 3 1/2 cts., 2 pearshaped diamonds, 2 round diamonds and 20 marquiseshaped diamonds, approx. 3.25 cts. total diamonds. $3000/5000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

267

268. A South Sea White Cultured Pearl Necklace, pearls graduated from 14 1/2 mm. to 11 1/2 mm., with 18 kt. gold and pave diamond clasp.

268

$3000/5000 269. A South Sea Champagne Cultured Pearl Necklace, pearls from 15 mm. to 11 mm., with 18 kt. gold and diamond clasp. $3500/5500 270. An Antique English 15 kt.

Yellow Gold, Oriental Pearl and Half Pearl Necklace, with removable pendant/ brooch. Note: Missing one pearl.

270

$1000/1500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

269

271. A 14 kt. Yellow Gold, Amethyst, and Diamond Ring, set with a large faceted oval amethyst surrounded by 26 full cut diamonds and 8 small single cut diamonds, totalling approx. 2.5 cts.

271

$2000/3000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. W denotes the lot is illustrated at www.nealauction.com

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275. A 14 kt. Yellow Gold and Diamond Swirl Ring, set with a European cut diamond, approx. 1.20 ct., G-H color, VS1-VS2 clarity. $3000/5000 W 276. A 14 kt. Yellow Gold and Diamond

Foliate Ring, set with three full cut diamonds. $500/700 274

W 277. Three 14 kt. Yellow Gold Bangle

Bracelets, one (unmarked) set with.05 ct. diamond.

272

$300/400 W 278. A Pair of 14 kt. Yellow Gold and Gray

Mabé Pearl Ear Clips. $150/250 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. W 279. An Antique 14 kt. Yellow Gold Solid

Rope Chain with Opal and Crystal Bead Spacers. $600/800 273

275 W 280. A Group of 14 kt. Yellow Gold

Jewelry, including two necklaces, a watch fob and a wedding ring. $500/700 281. An American 18 kt. Yellow Gold Hunting Case Pocket Watch, c. 1890, ret.

W.C. Potter, Chicago, with 1892 presentation inscription, together with a 14 kt. yellow gold fob in the shape of a ship’s wheel with functioning compass, and a gold-filled pocket knife. $1000/1500 284 W 282. A Victorian-Style 14 kt. Yellow

281

272. An 18 kt. Yellow Gold, White Gold, Aquamarine and Diamond Ring, signed “Rothschild’s”, New Orleans, set with a pear-shaped aquamarine, approx. 5 ct., 21 full cut diamonds and 2 marquise cut diamonds totalling approx. 1 ct. $1000/2000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

273. An 18 kt. Yellow Gold, Platinum, Ruby and Diamond Band Ring, set with a center round faceted natural ruby, approx. 1 ct., 2 small faceted rubies and 26 small full cut diamonds, mounting custom-made by Symmetry, New Orleans. $3000/5000 274. An 18 kt. Yellow Gold and Emerald Band Ring, bezel set with an emerald-cut Colombian emerald, 4.71 cts., medium green color, moderately included, mounting custom-made by Symmetry, New Orleans. $5000/7000

40

Gold and Black Enamel Brooch Mounting. $400/600 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. W 283. An Antique 10 kt. Yellow Gold Hunting

Case Pocket Watch, c. 1900. $800/1200 284. A White Gold and Emerald Cluster Ring, set with a cushion cut emerald surrounded by 18 full cut diamonds and 8 marquise cut diamonds. $1000/1500 W 285. An 18 kt. White Gold, Emerald and

Diamond Ring, Continental, probably Austrian, set with a full cut diamond and 2 round emeralds. $600/800

Session Two Saturday, November 22, 10 am 4038 Magazine

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

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289. A Chinese Export Famille Rose Porcelain Punchbowl, 18th c., U-form body raised on a tall foot ring, decorated around the exterior walls with alternating shaped panels enclosing figures in garden settings and iron red and sepia landscapes, base with “Elinor Gordon/ Oriental Lowestoft/ Villanova, PA” label, height 7 1/8 in., diameter 15 1/2 in., wood stand, overall height 7 1/8 in.

288

286 (1 of 2)

$1000/1500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

289

287 (1 of 3)

286. Miss E.P. Gardiner (British School, mid-to-late 18th c.), “Outside a Doorway” and “Before the Fire”, oils on wood panel, the former incised “Miss Gardiner” and dated “1783” on stretcher; the latter inscribed in pencil “Bought from the Sale/ of the Earl of Clancarty/ Co. Mayo” on label en verso, other indistinct labels en verso of both paintings, each 11 1/2 in. x 8 7/8 in., framed alike, (2 pcs.) $1000/1500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 287. After Henry Alken (British, 17841851), “Fox Hounds” and two “Racing”, c. 1820, three engravings, I. Clark, published by T. McLean, London, each sight 11 1/4 in. x 15 1/4 in., matted and framed, (3 pcs.). $400/600 288. After R.A. Clarke (American, 19th c.), “Celebrated American Trotting Horses”, 1854, lithograph by William H. Rease (American, 1818-1872), printed by Wagner and McGuigan, 24 in. x 39 in., framed. $500/700

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290

290. A Pair of Chinese Export “Imari” Porcelain Chargers, 17th/18th c., shallow U-form bodies with wide everted rims, decorated with a central pinwheel design surrounded by foliage and flowers, base with lingzhi fungus mark, height 1 5/8 in., diameter 15 1/4 in. $1000/1500

291. Two Chinese Export Famille Rose Porcelain “Tobacco Leaf” Dishes, 18th c., one with octagonal barbed rim, each similarly decorated with pinwheels, foliage and flowers, diameter 8 7/8 in. and 9 1/8 in. $500/700 W 292. A Chinese Export Famille Rose “Tobacco Leaf”

Porcelain Covered Sugar Bowl, 18th c., slightly waisted U-form body with protruding “leaf” handles and finialed domed cover decorated with birds amid hibiscus blossoms, leaves and pinwheels, height 5 in., width 5 in. $400/600

291

293

295

294

293. A Chinese Export Famille Rose “Tobacco Leaf” Porcelain Covered Tureen, 18th c., shaped oval body with upright leaf handles raised on a splayed foot, shaped domed cover with leafy stem finial, decorated with flower sprays, foliage and flower heads, height 9 in., width 14 1/2 in. $1500/2000 294. A Pair of Chinese Export-Style Polychrome Porcelain Figural Candlesticks, each modeled in mirror image as the figure of an elephant wearing a saddle and cloth with a gu form candlestick on its back, height 10 3/8 in., width 8 1/8 in. $600/800

296

295. A Pair of Regency Carved Rosewood Library Armchairs for the China Trade, early 19th c., concave crest rail, reticulated back, curved arms with carved supports, caned seat, tapered reeded legs. $700/900 296. A George III Mahogany Console or Serving Table, 18th c., serpentine top, conforming molded frieze, chamfered legs, height 31 5/8 in., width 60 in., depth 29 1/2 in. $1000/2000 Provenance: Estate of Major Philip St. George Ambler IV. W denotes the lot is illustrated at www.nealauction.com

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298

300. A Louis XVI-Style Kingwood, Parquetry and Gilt Metal Mounted Side Table, early 20th c., shaped top, frieze drawer, mounted tapered legs, height 29 in., width 32 in., depth 20 in.

297

$700/1000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. W 301. An

299

300

297. A George III Carved Mahogany Chest of Drawers, early 19th c., molded serpentine top, dressing slide above four graduated drawers, blind fretwork chamfered sides, molded base, bracket feet, height 34 in., width 42 in., depth 23 in.

Italian Alabaster Urn, c. 1870, floral handles, centered by a grotesque mask, lobed body, height 15 in., diameter 8 in. $500/700 Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL.

$700/1000 Provenance: Estate of Madelyn C. Kreisler to Joel Weinstock.

298. A Pair of English Mahogany Chests, 19th c. and later, incorporating antique elements, one with single deep drawer, the other with fitted bottle drawer and side compartment, bracket feet, height 22 in., width 21 in., depth 23 7/8 in. $500/800 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 299. A George III Mahogany and Needlepoint Armchair, late 18th/early 19th c., padded rectangular back, arms and seat, molded square legs. $500/750 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

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302. Three Pieces of Vintage Louis Vuitton Luggage, comprising two hard-sided 302 suitcases and a carry-on bag, height 18 1/2 in., width 27 1/2 in., depth 7 in.; height 16 1/2 in., width 23 1/2 in., depth 6 1/2 in.; and height 11 1/2 in., width 14 1/2 in., depth 6 1/2 in. $1500/2500 Provenance: Saks Fifth Avenue.

303. A Good Napoleon III Ebonized, Gilt Bronze and Hardstone Mounted Valuables Box, c. 1870, mounted with bronze vines and carved stone fruit, the interior fitted with mirror and lift out tray, dolphin feet, height 10 in., width 15 in., depth 13 in.

305

303

$600/900 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 304. A Napoleon III Gilt Bronze and PorcelainMounted Kingwood Parquetry Dresser Box, c.

1855, by Maison Vervelle, with Sèvres-style plaque, silk lined interior with removable tray, lockplate signed “Vervelle Fant., 1 Rue Nve. Montmorency, Paris”, height 5 7/8 in., width 13 1/2 in., depth 9 1/2 in.

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308

$600/900 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 305. A Pair of French Gilt and Polychromed Porcelain Figural Rhyton Vases, 19th c., female and male opposing figures seated on scrolled base, floral motifs, height 14 in., width 10 in., depth 5 1/2 in.

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307. A Buccellati Sterling Silver Tea and Coffee Service, c. 1930, comprising a coffee pot, teapot, covered sugar and covered creamer; plain pyriform bodies, hinged covers on coffee and tea, urn finials, combined weight 74.80 troy ozs. $2500/3500

306. A Pair of William IV Day’s Patent Candle Screens in the Gothic Taste, c. 1840, with removable telescopic shaft, marked, height 9 1/2 in., diameter 3 1/4 in. $300/500

308. A Regency Sheffield Fused Plate Oil Lamp, c. 1810, plate marked Thomas Creswick, conical shaped snuffer, solar chimney. $300/500 Note: A nearly identical lamp is in the collection of Winterthur Museum.

$1000/1500 W denotes the lot is illustrated at www.nealauction.com

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312

311

310. An English Figured Mahogany Serpentine Bombé and Mirrored Desk, 18th c. and later, of Hepplewhite inspiration, in two parts, complex reticulated cornice above etched mirrored doors, enclosing fitted interior; slant front lid enclosing fitted interior with blue and etched mirrored compartments and drawers, on flared “French” feet, height 74 in., width 38 in., depth 19 in.

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$2500/5000 309. A Pair of Regency Carved Mahogany Armchairs, early 19th c., attributed to William Trotter, Edinburgh, shaped volute crest rail, scroll carved slat, scrolled reeded arms, reeded seat rail, tapered, turned and reeded legs.

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL, acquired Manheim Galleries, New Orleans.

311. A Regency Carved Rosewood Center Table, early 19th c., circular top above a narrow frieze, chamfered and flared standard, foliate collar, circular plinth, paw feet, height 30 1/4 in., width 48 3/8 in. $2500/3500

$1000/1500 312. A William IV Carved Rosewood Portfolio Stand, mid19th c., shaped crest and sides, vasiform supports, turned stretchers, shaped trestle legs, casters, height 42 in., width 29 in., depth 24 in. $1200/1800 310 (detail closed)

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315

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313. A Good Pair of Continental Carved Oak and BronzeMounted Pedestals, mid-19th c., in the Classical taste, revolving tops, on fluted standards, conforming bases, height 36 1/2 in., diameter 15 1/2 in. $1200/2000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 314. A Louis XV Provincial Carved Fruitwood Table à Thé, 18th c., galleried top, shaped frieze with drawer, cabriole legs ending in hoof feet, height 26 3/8 in., width 28 1/2 in., depth 20 3/8 in. $800/1200

315. A Régence-Style Inlaid Walnut and Bronze-Mounted Commode, 19th c., serpentine marble top, three drawers over two long drawers, shaped base, flared feet, height 35 3/4 in., width 51 in., depth 25 7/8 in. $2500/3500 317 316. An Antique Napoleon III Walnut Parquetry and Bronze-Mounted Commode, molded serpentine marble top, the case with three over three drawers, cabriole legs, sabots, height 39 1/2 in., width 63 in., depth 27 in. $4000/6000

317. A Louis XVI-Style Gilt Bronze Fireguard, 19th c., fluted scrollwork and lion masque standard surmounted by urns, rail centered by foliate cartouche, height 20 in., width 53 in., depth 6 in. $700/1000

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

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320. Jodocus Hondius (Dutch, 1606-1634), “Virginiae Item et Floridae Americae Provinciarum, nova Descriptio”, c. 1630, hand-colored copper engraved map, from the French edition of Mercator’s Atlas Sive Cosmographicae, French text en verso, 13 1/2 in. x 19 in., sheet 18 in. x 21 1/2 in., matted and framed. $1500/2500 W 321. A Partially Printed Document

Signed by Louis XVI, King of France, two pp., Paris, July 13, 1789, to the Attorney-General, etc., relative to letters-patent issued by decree of the National Assembly, 13 1/4 in. x 9 in. $500/700

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322. A Grand Tour Bronze Figure of Narcissus, late 19th c., after the Pompeian Antique in the National Museum, Naples, Italy, height 24 1/2 in. $800/1200 Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL.

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320

318. A Christofle Silverplate Centerpiece, Paris, c.

1880, cherub mounted naturalistic foliated twig and berry frame supporting a paneled oval glass bowl with scalloped rim, height 8 in., width 22 in., depth 10 in. $4000/6000 322

323

319. A Fine English Sterling Silver Gallery Tray, Frederick Elkington, Birmingham, 1880, mark reg. 1868, oval with reticulated swag and bowknot gallery, neoclassical chased well, turned wood handles, length 27 3/8 in., width 15 1/2 in., weight 115.15 troy ozs.

323. A Continental Bronze of Diana, 19th c., after Jean Bulio (French, 1827-1911), the goddess with bow, arrows, and a hunting hound, inscribed “Bulio”, black marble base, height 28 in.

$3000/5000

$800/1200 Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL.

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324 327 324. A Continental Marble Bust of Antinous, 19th c., after the Antinous Mondragone in the Louvre Museum, Paris, France, height 20 1/4 in. $800/1200 Note: Antinous was the favored young companion of Emperor Hadrian, who drowned in the Nile River in 130 CE. After his death, Hadrian deified the youth. He named the Egyptian city Antinopolis after him and erected many monuments and sculptural busts in his honor, including the Mondragone bust with its distinctive diadem- ornamental banded crown worn by Eastern monarchs.

325

325. A French Bronze Figure of Helen of Troy, called Hélène, Debout Drapée, c. 1864, after Jean-Baptiste-Auguste Clesinger (French, 1814-1883), classically draped beauty crowned by a diadem, toying with a long strand of pearls, inscribed “J. CLESINGER”, and “F. BARBEDIENNE FONDEUR” on circular base, with “REDUCTION MECANIQUE/ A COLLAS/ BREVETÉ” seal on robe, height 27 1/2 in.

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327. A Restauration Gilt and Patinated Bronze Figural Mantel Clock, c. 1820, silk thread movement, dial marked with retailer “Joseph Mathey”, with lady in court dress sitting pensively on a rocaille base, tall plinth, scrolled feet, height 18 in., width 12 1/2 in., depth 4 1/2 in.

$4000/6000 326. A Louis XVI Carved and Gilded Mirror, late 18th c., arched molded crest with foliate cartouche, foliate and rocaille embossed frame, beaded inner molding, height 44 1/2 in., width 30 3/4 in.

$600/800 328. A Louis Philippe Gilt Bronze Figural Mantel Clock, c. 1845, cast as the writer JeanPierre Claris de Florian leaning on his desk amidst folios, one opened to his opera Estelle et Nemorin, height 20 in., width 15 in., depth 6 3/4 in.

326

$900/1200

$1200/1800 W denotes the lot is illustrated at www.nealauction.com

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330. A Pair of Chinese Blue and White Porcelain Covered Jars, probably 19th c., baluster bodies decorated with flowering prunus on a “cracked ice” ground, height 12 3/4 in., finialed carved wood covers, overall height 17 in.

329

$500/1000 Provenance: Estate of Madelyn C. Kreisler (c. 1890-1975); to Joel N. Weinstock, New Orleans.

330

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331. A Good Pair of Chinese Famille Rose Porcelain Fish Bowls, probably 20th c., U-form bodies with flat everted rims, decorated around the exterior walls with applied vases issuing flowering plants and fruit, height 16 1/2 in., width 20 1/4 in., raised on fitted hardwood stands, overall height 36 1/2 in. $1500/2500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

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332. A Pair of Chinese Famille Verte Porcelain Rouleau Vases, probably Qing Dynasty (1644-1911), tapering bodies and flared necks decorated with nobles in a forest landscape, height 25 1/4 in., now mounted as lamps, height to top of finial 41 1/2 in. $1500/2500

329. A Chinese Celadon Bowl, probably Ming Dynasty (1368-1644), bell-form body with wide everted rim molded around the exterior sides with ribs radiating from a tall foot ring, height 4 in., diameter 11 3/4 in. $600/800 Provenance: Collection of Joel N. Weinstock, New Orleans.

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Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

333. A Pair of Chinese Wucai Porcelain Covered Jars, probably 17th/18th c., baluster bodies enameled with tree squirrels amid fruiting grape vines, domed finialed covers, height 15 3/8 in., wood stands, overall height 18 in.

333

$1000/1500 334. A Pair of Chinese Export “Mandarin Palette” Molded Porcelain Covered Bottle Vases, 18th c., lobed bodies with sinuous qilong dragon handles and applied foliage and flowers, decorated with figural cartouches, conforming domed covers with figural finials, height 11 7/8 in. $3000/4000 335. An Italian Rococo Carved, Polychromed and Gilt Vitrine Cabinet, late 18th/early 19th c., reticulated acanthus carved crest, C and S scrolled stiles flanking a glazed door, velvet-lined interior; the base with drawer and pair of doors, blocked feet; faux marbre and stippled decoration with gilt accents, height 80 in., width 37 in., depth 21 in. $3000/5000

335

334

336 (top)

336. A Neoclassical-Style Chinoiserie and Bronze Side Table, probably 19th c., the top with bird and prunus decoration, bronze molding, X stretcher base, paw feet, height 27 1/2 in., width 30 1/4 in., depth 19 1/8 in. $1500/2000

336

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

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339. A Pair of Antique Louis XV-Style Provincial Fauteuils à la Reine, 19th c., arched backs, acanthus carved scrolled arms, shell carved serpentine seat rails, shell carved cabriole legs, incurvate stretchers. $1500/2500 340. A Louis XV Provincial Carved Walnut Table á Encrire, 18th c., molded inset leather top, shell and quatrefoil carved apron, end drawer, acanthus carved cabriole legs, height 27 in., width 52 1/4 in., depth 22 in. $1000/1500 337

338

340 339 341. A French Miniature Gilt Bronze Dressing Table, late 19th c., with an oval signed portrait miniature inset in the top and en verso of mirror, fitted frieze drawer, swags, molded legs, height 9 in., idth 17 5/8 in., depth 4 1/8 in.

337. An Italian Walnut Parquetry Commode, 18th c., molded marble top, two drawers with compass star inlay, conforming sides, tapered square legs, brass cuffs, height 35 in., width 22 7/8 in., depth 13 3/4 in. $800/1200 338. A Pair of Antique Italian Carved and Gilded Pricket Stands, 19th c., each with gilt metal bobêche, foliate carved standard, swagged triangular base, ball feet, height 36 in., width 6 in. $700/900

$400/600

341

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Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

342. An Italian Miniature Leather-Covered Bowfront Chest of Drawers, 18th c., three drawers on bracket feet, hinged top opening to fitted interior, height 9 3/4 in., width 13 1/2 in., depth 8 1/4 in. $600/900 343. A Venetian Carved, Gilt and Polychromed Blackamoor Torchère, 19th c., figure in Moorish dress with arm extended and posed on a plinth base, height 45 1/2 in., width 9 in., depth 8 in. $1000/1500

342

344. A Fine Pair of Louis XV-Style Mahogany, Bois Satiné, Parquetry, Marquetry and Bronze-Mounted Demilune Side Cabinets, early 20th c., each with marble top, mounted frieze, central door with cranes, branches, cattails and ferns in the Japanese taste, shaped base, hoof feet, height 42 5/8 in., width 37 in., depth 18 3/4 in. $6000/8000

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343

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345. A Louis XVI-Style Bronze-Mounted Mahogany Chaise en Bateau, 20th c., shaped backrest and arm, low back rail, shaped foot, square tapered legs, height 36 in., length 75 in., depth 28 1/2 in. $700/1000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. W denotes the lot is illustrated at www.nealauction.com

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347. A Pair of Italian Carved, Painted and Parcel Gilt Figural Side Tables, faux marbre tops, lobed bodies, swan supports, acanthus carved collars, square plinths, height 20 in., width 17 1/2 in. $1000/1500 348. An Antique Italian Renaissance-Style Carved Walnut Cabinet, late 18th/early 19th c., molded top above two paneled doors, stop fluted stiles, blocked feet, height 33 1/4 in., width 35 1/8 in., depth 12 3/4 in. $800/1200 346

347

348

346. A French Mahogany and BronzeMounted Console Table, probably 19th c., marble top above mounted frieze, scrolled supports, later paneled back, plinth base, disc feet, height 35 in., width 60 in., depth 21 in.

349. Manner of “Canaletto” Bernardo Bellotto (Italian, 1721-1780), “Capriccio of Venice from the Bacino di San Marco”, 19th c., oil on canvas, signed indistinctly en verso, 25 3/8 in. x 39 1/4 in., framed. $4000/6000

$800/1200 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 349

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350. Attributed to Simon Johannes van Douw (Flemish, c. 1630-1680), “An Elegant Hunting Party in a Landscape”, 17th c., oil on canvas, unsigned, 19 1/4 in. x 28 3/4 in., framed. $3000/5000 351. Charles François Daubigny (French, 18171878), “Woman on a Path Beside a Church”, oil on canvas, signed lower left, 9 1/8 in. x 14 5/8 in., framed.

350

$2000/3000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 352. A Monumental George III Carved Mahogany Clock Barometer, c.

1800, broken scroll pediment, the case incorporating a large barometer dial with globe decoration, a clock, a thermometer, a hygrometer and a level bubble, height 53 1/2 in., width 15 in., depth 3 1/2 in.

351

352

$2500/3500

353

353. A Rare Regency Carved Giltwood Mirror, early 19th c., blocked cornice, frieze with pendant acorns, scrolled caryatid pilasters, molded floral surround, tripartite mirror plate, original gilt surface and mirror plates, height 28 1/2 in., width 68 1/2 in., depth 6 in. $1500/2500

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

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354 (1 of a pair)

354. A Pair of Empire-Style Carved, Painted and Parcel Gilt Pier Mirrors, early 20th c., each with pedimented cornice centered by an urn, rosette and leaf carved frieze, fluted Ionic columnar stiles, conforming base, height 81 1/4 in., width 53 in. $3000/4000 355. A Fine American Renaissance Carved Cuban Mahogany Chiming Bell Tall Case Clock, late 19th c., Daniel Pabst, Philadelphia, arched bonnet with Gothic finial, tall rosette-carved corner pinnacles with step molding, twist carved columns, pierced brass sound panels, brass and steel dial with retailer cartouche of “J.E. Caldwell & Co., Philadelphia”, moon phase dial, the works chiming Westminster, eight and ten bells, striking on a nest of ten bells, chamfered case carved with lion masks, center floral vine, the base with sawtooth leaf and fan cornice and centered by peacock panel, raised on rigorous claw and brass ball feet, height 102 1/2 in., width 25 in., depth 15 in. $15000/25000 Note: One of the leading Philadelphia furniture makers working in the Modern Gothic style in the 1870s was Daniel Pabst. Pabst’s mastery of this reform style was no doubt enhanced by his association with Philadelphia architect Frank Furness, for whom Pabst executed designs for furniture in the Modern Gothic mode. There are a number of surviving examples of Modern Gothic furniture attributed or documented to Pabst, including a carved oak tall-case clock impressed inside the door of the case with Pabst’s name and the date of 1884.

The tall-case clock currently offered and the signed example by Pabst bear a number of similarities, including decoration that combines Classical, medieval, and conventionalized naturalistic ornament. The conventionalized, or geometricized, flower and leaf decoration on the door of the current lot borrows from the designs of Christopher Dresser, whose books of ornament influenced the work of Pabst in the 1870s. Whereas the signed tall-

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355

case clock favors primarily Classical motifs, the clock offered for sale here is inclined toward the Gothic: the hood featuring medieval details such as a pointed arch with cusping, a crenellated crest and crocketed finials. The dials of both clocks are signed by J. E. Caldwell of Philadelphia.

References: Mary Jean Madigan et al., Nineteenth-Century Furniture: Innovation, Revival and Reform (New York, 1982), pp. 36-43; David A. Hanks and Page Talbott, “Daniel Pabst-Philadelphia Cabinetmaker,” Philadelphia Museum of Art Bulletin (April 1977), pp. 16-22.

356. An American Gothic Carved Oak Hall Chair, mid-19th c., attributed to the “Stanton Hall Master”, probably New Orleans, blind-tracery stiles with crocketed finials flanking tall arched back with carved and pierced tracery, trapezoidal upholstered seat, blind-tracery front seat rail and square tapering legs. $4000/6000 Note: The chair offered in the current lot is related to a number of very similar hall chairs that are part of a large group of distinctive Gothic Revival furniture-including hallstands, sofas and a chaise longue--attributed to an unidentified craftsman described as the “Stanton Hall Master.” The most thoroughly documented examples of this furniture are a pair of hall chairs and a hallstand made for Stanton Hall, a grand town house built in 1857-1859 for Frederick Stanton in 356 Natchez, Mississippi.

In 1859, Henry Siebrecht, a household furnishings merchant based in New Orleans, billed Stanton for curtains, carpets and trimming as well as for bedchamber furniture, card tables and chairs. While the invoice does not reference hall furniture, it is believed that Siebrecht supplied the hall chairs and hallstand. It is not known if Siebrecht made the furniture or merely retailed it.

On August 30, 1986, Neal Auction Company conducted an on-site sale of the contents of the Sisters of Mercy Convent in Vicksburg, Mississippi. Among the highlights of the auction were four American Gothic Revival oak hall chairs, two matching sofas and a hallstand. These pieces are believed to have been among the furnishings purchased by James Reese Cook in 1845 when he remodeled and enlarged his residence at Hard Times Plantation near Vicksburg, Mississippi. The gift of this group of hall furniture to the Sisters of Mercy Convent is documented by a paper label attached to the back of the hallstand. Two hall chairs by the same “Stanton Hall Master” sold in these salesrooms on May 28, 1988. On April 5, 2003, Neal Auction Company offered another pair of chairs and a sofa. A single chair in the pattern sold in these salesrooms on September 15, 2012.

One of the hall chairs offered in 1986 at Neal Auction Company’s on-site sale is now part of the collection of the High Museum of Art in Atlanta, Georgia; another is in the Bybee Collection at the Dallas Museum of Art. Related pieces of furniture

357

include a chaise longue in the collection of the Metropolitan Museum of Art and a hall chair at the Winterthur Museum in Wilmington, Delaware.

The oak hall chair offered in the current sale is most likely by the same furniture maker who produced the hall chairs for James Reese Cook and Frederick Stanton.

All the chairs have the same ogee-arch crest rail, carved and pierced tracery in the back, and pinnacle-shaped finials surmounting the stiles. The chair in the current lot deviates slightly from the other examples in terms of the shorter pinnacle-form finials, the absence of cusping under the seat rails, and the use of blind as opposed to pierced tracery.

References: “Antiques and the Arts Weekly,” October 3, 1986, p. 42; Howe, Katherine S. and David B. Warren, “The Gothic Revival Style in America, 1830-1870” (Houston, 1976), pp. 29 and 59; Venable, Charles L. American Furniture in the Bybee Collection (Dallas, 1989), pp. 152-153; Pierce, Donald C. Art and Enterprise, 1825-1917 (Atlanta, 1999), pp. 66-67; Davidson, Marshall and Elizabeth Stillinger, The American Wing, The Metropolitan Museum of Art (New York, 1985), p. 175.

357. An American Gothic Carved Oak Hall Chair, mid-19th c., attributed to the “Stanton Hall Master”, probably New Orleans, found en suite with preceding lot. $4000/6000

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

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358

361

358. A Henry Deringer Percussion Pocket Pistol, c.

1848, rifled barrel and lockplate marked “Deringer/Philadela” and with a “P” encircled by a sunburst, checkered walnut grip, engraved silver furniture, pineapple finger guard finial, barrel 2 1/2 in. $800/1200 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 359. An American Classical Carved Mahogany Library or Hall Table, early 19th c., New York, Egyptian marble top with rounded corners, conforming frieze, shaped supports connected by an arched stretcher, scrolled trestle legs, casters, height 30 in., width 53 1/2 in., depth 23 in. $2000/3000 360. An American Federal Carved Mahogany Étagère, early 19th c., four tiered shelves with medial drawer, turned tapering columnar supports, X-form sides, turned feet, height 53 in., width 20 in., depth 15 1/2 in. $1200/1800

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359

361. A Fine American Classical Carved and Brass-Inlaid Mahogany and Rosewood Drop-Leaf Table, c. 18251835, New York, clover-leaf top, arched frieze with brass stringing, four acanthine scrolled supports rising from round plinth with brass bands, acanthine legs terminating in paw feet, height 29 1/2 in., open length 54 1/8 in., closed length 26 1/8 in., width 30 3/8 in. $2000/3000 Note: The arched opening in the apron, round plinth, elaborate carving of acanthus leaves sprawling across practically every surface of the very 360 distinctive supports, brass inlaid plinth and finely carved legs on the current lot are features characteristic of New York Classical furniture. The composition of the S-shaped supports rising from a plinth is found on a number of New York tables made between 1820 and 1830, including a fold-top games table attributed to New York City cabinetmaker Michael Allison, now in the collection of the New York State Museum in Albany, New York. Brass inlay, also featured on sophisticated examples of New York Classical furniture, adorns the apron and the plinth of the table presented here.

References: Scherer, John L. New York Furniture at the New York State Museum (Alexandria, VA, 1983), p. 46.

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363

362. An American Late Federal Mahogany Games Table, c. 1800, Philadelphia, attributed to Haines & Connelly, shaped foldover top, frieze with crossbanding and Gothic arch inlay, ring-turned tapered reeded legs, height 29 in., width 36 in., depth 18 in. $1200/1800

363. A Rare Set of Twelve American Gothic Carved Mahogany Dining Chairs, c. 1830, Philadelphia, each with foliate finials, arched back with figured crest rail, carved pendant rail, trapezoidal seat, blind Gothicized fretwork on seat rail, square tapering legs, casters. $8000/12000 Provenance: Acquired by the present owner from a Natchez, Mississippi, collector.

Note: A nearly identical suite of dining chairs in the historic Melrose, Natchez Collection (catalogue number NATC 325), is shown on its 1865 inventory.

Reference: http://www.museum.nps.gov/natc/

364. William Keith (Scottish/California, 18391911), “Under the Oaks, San Francisco”, oil on canvas, signed and inscribed “S.F.” lower left, titled on brass plaque, typewritten label en verso with artist’s biography, 25 1/8 in. x 30 in., period gilt frame. $1800/2400 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

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

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365 366 365. Frank Weston Benson (American, 1862-1951), “Dog River, Alabama”, 1930, watercolor on paper, signed and dated lower left, sight 14 1/2 in. x 22 1/2 in., matted and framed. $15000/25000 Provenance: Kennedy Galleries, New York.

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Note: Frank Benson was formally trained at the School of the Museum of Fine Arts in Boston and the Académie Julien in Paris. He opened a studio in his hometown of Salem, MA in 1885 and worked primarily as a portrait painter. Benson also taught at the Boston Museum School from 1889 to 1913 and was a founding member of the Ten American Painters and American Academy of Arts and Letters. Benson was among the most exhibited and celebrated artists of his time, winning almost every significant award of the day for a variety of media including oil, printmaking, drawing and watercolor.

366. William Trost Richards (American, 1833-1905), “New England Hillside with Rocky Stream, (possibly the Adirondacks)”, 1878, oil on canvas backed by board, signed and dated lower left, titled on typed label with artist information en verso, 24 1/4 in. x 20 in., carved and gilded frame.

Around 1901, Benson developed an interest in nature and in the mid-1910s, focused on sporting scenes, especially salmon fishing and duck hunting.

Benson began painting with watercolor in 1921, while on a fishing trip to Canada and quickly mastered the medium. In the 1930 watercolor offered here, Benson captures the light and atmosphere of the Dog River, located off the Gulf of Mexico on Mobile Bay, AL, one of his favored fishing locations and subjects.

367. Harold B. Rotenberg (American, 1905-2011), “Deep Valley”, oil on canvas, signed lower right, “Vose Galleries, Boston” label with title en verso, 21 in. x 32 in., framed.

Reference: Brewer, Philip L., M.D. Spot: Southern Works on Paper.

Charleston: Hicklin Galleries, LLC/The Charleston Renaissance Gallery, 2008, pp. 30-31.

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$8000/12000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

$1200/1800 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, Alabama.

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368. An Anglo-Colonial Carved Tropical Hardwood Jardinière, mid-19th c., probably India, foliate-carved circular bowl supported by exotic birds clasping serpents and ending in paw feet, incurvate triangular plinth terminating in acanthus scrolls, height 35 in., diameter 29 in. $1000/1500

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371. Guillaume Seignac (French, 1870-1924), “Portrait of a Beauty as ‘Flora’”, oil on canvas, signed upper left, 22 7/8 in. x 18 1/4 in., period gilt frame. $7000/9000 Provenance: Private Collection, Dallas, TX.

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369. An Anglo-Colonial Carved Tropical Hardwood Jardinière, mid-19th c., found en suite with preceding lot, casters, height 36 1/2 in., diameter 37 in. $800/1200 370. A Good Louis XV Carved Walnut Commode, late 18th c., molded serpentine top, conforming case with three paneled drawers, shaped base, volute scrolled cabriole legs, hoof feet, height 36 1/2 in., width 51 1/2 in., depth 24 in.

Note: Portraits of mythological figures are a recurring theme in Guillaume Seignac’s work that distinguishes his work from other academic painters working in the Neo-Classical tradition at the turn-of-the century. While Bacchantes and depictions of Venus have always been ubiquitous in the “history painting” genre at the Salon, Seignac’s depictions had a freshness that appealed to both traditionalists and Art Nouveau collectors. As one critic at the 1904 Salon noted, Seignac’s figures have “marvelous pink and white flesh… that gives us an instant illusion of Bougereau, but more contemporary.” A fine example of this contemporaneity is the “Portrait of a Beauty as Flora” offered here. Flora, a Roman goddess of fertility and spring, is modeled after Classical sculpture (namely Phidias) and the subtle airbrushed modeling of the skin (sfumato) recalls the Florentine Renaissance masters. The crown of irises which Flora wears is also steeped in mythology and history.

Iris, the messenger of the gods, is personified as the rainbow. She is also a symbol of the French monarchy from which the symbol of the fleur-de-lis was conceived. Seignac’s use of portraiture, however, disrupts the pastiche of a mythological figure. Who is she? Is it a portrait of a woman with flowers? Is she posed as Flora, or is it an arbitrary allegory? The juxtaposition of the irises (a recurrent motif in Art Nouveau) with the organic forms of the diaphanous chiffon robe she wears further disrupts the iconography of an academic painting.

Fascinated with the effects of lighting, Seignac often studied his models and fabric in plein air before perfecting them in his studio. Seignac’s study of light is distinctly non-academic; it is far more scientific, in keeping with the optics his fellow post-Impressionist painters explored at the time. The appeal of Seignac’s work is precisely its timelessness. Classical motifs are never overworked with artistic tropes. Instead, the line and color of the female form is the centering theme that transforms tangible fantasies into possible realities.

References: “Les Salons de 1904.” Le Rappel 1 May 1904.

$4000/6000

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374. A Set of Six Paris Porcelain Botanical Plates, early 19th c., marked in iron red “Darte, Pal. Royal, No 21”, with gilt borders, diameter 9 in. $400/600 375. A Very Fine Pair of Napoleon III Gilt Bronze Figural Chenets, each modeled as a sphinx on a rectangular plinth, inset with a blue enameled oval depicting a Roman profile, height 14 in., width 14 in., depth 7 in.

372

$3000/4000

373

373. A Pair of Italian Faience Chargers, c. 1900, large circular form painted with copper and gilt metallic Roman scenes, marked “A.R. Italy”, one with old paper labels, diameter 20 1/2 in.

376. A Russian Gilt Bronze and Malachite BookForm Box, with Neoclassical mount, height 3 in., width 12 1/2 in., depth 8 1/2 in. $800/1200

$1500/2500 Provenance: Park Avenue, NY, Urban Interior Collection of Mr. and Mrs. George Hornig.

374

375

372. Pierre Clausade (French, 1910-1976), “Along the Loire River”, c. 1965, oil on canvas, signed lower left, artist’s biography typed on paper en verso, 21 1/4 in. x 25 1/2 in., framed. $2000/3000 Provenance: Private Collection, Fort Worth, TX.

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376

377

378

377. A Pair of Directoire-Style Gilt Bronze and Jasper Ware Candlesticks, c. 1875-1900, urn-form candlecups, quadripartite female herm standards, anthemion bases inset with jasper ware cameo medallions that depict Athena and Poseidon’s contest for Athens and a Classical maiden making a sacrifice, height 13 1/2 in. $2000/3000 378. A Pair of Louis XV Provincial Carved Fruitwood and Caned Armchairs, 18th c., arched foliate carved crest rail, serpentine foliate arms, shaped seat rail, cabriole legs. $1200/2000 379. An Antique Italian Carved Walnut Trestle Table, probably 18th c., top with foliate carved molding, fretwork chain carved frieze with three drawers to one side, scrolled supports, iron stretcher, scroll legs, height 30 in., width 52 1/2 in., depth 30 5/8 in.

379

$2500/3500 380. A Louis XV-Style BronzeMounted Kingwood Bureau Plat, 19th c., serpentine top, inset tooled leather writing surface, shaped frieze with three drawers, cabriole legs, sabots, height 29 5/8 in., width 65 in., depth 34 in. $3000/5000

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

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382. An Italian Neoclassical Polychromed Corner Cabinet, early 19th c., faux marbre top, diamond paneled door, velvet lined interior, molded sides, blocked and bracketed base, height 42 3/4 in., width 29 1/2 in., depth 18 1/4 in. $1000/1500 381

382

383 (closed)

383. A George II 384 Chinoiserie Decorated Bookcase and Desk, 18th c. and later, molded cornice, pair of glazed doors, shelf interior, slant lid enclosing well-fitted interior, inset leather writing surface; two short over two long drawers, bracket feet, height 75 in., width 43 in., depth 23 1/2 in. $4000/6000

383

381. A Venetian Rococo Painted Desk, 18th c., molded slant front lid, fitted stepped interior, long drawer, shaped apron, cabriole legs, decorated with pastoral scenes, height 42 1/4 in., width 43 1/4 in., depth 19 1/2 in. $4000/6000

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384. Beebe, Charles William, A Monograph of the Pheasants, London, Witherby, 1918-1922, 4 volumes, folio (16 in. x 11 1/2 in), maroon cloth, first edition, number 395 of 600 copies, with 90 colored lithographic or collotype plates after Thorburn, Lodge, Gronvold, Knigh, Fuertes and others, 88 photogravure plates and 20 maps. $1200/1800 Reference: Sitwell, Fine Bird Books, 1700-1900, pg. 59.

385. Joshua Dighton (British, 18311908), “Six Portraits of Jockeys, including J. Osborne, Fred Archer, G. Fordham, R. Marsh and E. Martin”, watercolors on artist board, four pencil-signed and five pencilinscribed en verso, “Richard Green/44 Dover Street/ London” label en verso, from 7 1/4 in. x 5 5/8 in. to 7 3/4 in. x 5 3/4 in., matted and framed together.

386 385

$3500/4500 Note: Paintings by Joshua Dighton are included in the collection of the National Portrait Gallery, London, and The National Horse and Racing Museum, London.

386. James Abbott McNeill Whistler (American, 18341903), “Becquet, the Fiddler”, 1859, etching, titled on label on frame backing, 10 1/8 in. x 7 1/2 in., framed. $1200/1800 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 387. Albrecht Dürer (German, 1471-1528), “The Rejection of Joachim’s Offering by the High Priest”, c. 1504, woodcut, from the series Life of the Virgin, watermark circle, scales and star, collector’s stamps en verso for Karl Ferdinand Friedrich von Nagler and the Kuperstich Sammlung der Konigl Museen, backboard labeled “Kovler Gallery, Chicago”, 11 1/2 in. x 8 1/4 in., attractively float mounted and framed. $1500/2500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

387

W 389. A George III Fruitwood Apple-

Form Tea Caddy, c. 1800, interior retains traces of foil lining, height 4 3/4 in., diameter 4 3/8 in. $300/500 388

W 390. A George III Tortoiseshell

388. A Pair of Italian Neoclassical-Style Specimen Marble Obelisks, 20th c., of typical form, raised plinth base, height 40 1/4 in., width 8 1/8 in. $2000/3000

Sarcophagus-Form Tea Caddy, c.

1800, two lidded interior compartments, brass ball feet, height 4 1/2 in., width 6 1/4 in., depth 4 in. $300/500

Reference: Bartsch #77; Hollstein, Meder #189.

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

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391

391. A Fine English Painted Satinwood Jardinière, 19th c., in original state, oval top, scrolling supports, faceted column, conforming incurvate base, height 36 in., width 37 in., depth 25 1/2 in.

392

$3000/5000 392. A Georgian Burled Maple and Mahogany Inlaid Decanter Case, late 18th/early 19th c., with shell patera inlay, interior fitted with six fine original gilt decorated bottles and 2 glasses, carrying handles, in fine old patina, height 9 1/2 in., width 10 3/4 in., depth 7 1/2 in. $1000/1500 393. A Fine American Classical Mahogany “Grecian” Couch, c. 1830, probably Philadelphia, reeded scrolled back, conforming seat rail, saber legs with ebonized inlay, brass paw feet, casters, height 35 in., width 73 in., depth 25 1/2 in.

393

$2000/3000 Note: Elegant “Grecian” couches with asymmetrical scrolled ends were produced in Philadelphia, New York City and Baltimore during the years between 1810 and 1830. In the 1810s, craftsmen tended to favor delicate outlines and reeded surface decoration, as seen on the couch seen here. This couch was most likely produced in Philadelphia, where furniture makers frequently employed a broken scroll in the taller end of the couch. The scroll feature is also found in the arms of a number of Philadelphia sofas made during the late Federal period. Regularly seen on Philadelphia couches, but by no means exclusive to examples fabricated in this city, is the inward roll of the shorter scrolled end.

References: Boor, Allison, et al., Philadelphia Empire Furniture (West Chester, PA, 2006), pp. 366, 367, 368, 372 and 373.

394. A Fine Suite of Fourteen Georgian-Style Carved Mahogany and Needlepoint Upholstered Dining Chairs, comprised of two arm and twelve side chairs, each with shaped arched back, shell carved balloon slip seat, lion’s mask carved cabriole legs ending in hairy paw feet; scrolled arms ending in lion masks with acanthine uprights.

394

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$7000/9000

398

396. A Regency Carved Mahogany Armchair, early 19th c., after a design by George Smith, scrolled paneled crest rail with acanthus, scrolls and palmettes, padded barrel back, downswept reeded stiles, reeded arms over shaped supports with volutes, saber legs, casters.

395

$800/1200

396

395. A George III Mahogany Breakfront Bookcase, late 18th/early 19th c., upper case with dentilated cornice, fluted frieze, glazed doors; the lower case with gothicized frieze above four paneled doors, blocked base, height 93 in., width 98 in., depth 21 in. $2000/3000 Provenance: Estate of Madelyn C. Kreisler; to Joel N. Weinstock, New Orleans.

397

397. A George III Inlaid Mahogany Sideboard, late 18th/early 19th c., brass gallery with girandole candlearms, frieze with long drawer, and on one side a hinged cupboard door, raised on turned, reeded and tapered legs, height 60 1/4 in., width 78 1/2 in., depth 32 in. $8000/12000 398. A Regency Burl Maple Writing Table, early 19th c., inset tooled leather top, paneled frieze, trestle base with acanthus brackets, disc feet, turned stretcher, height 29 in., width 36 in., depth 21 in. $1200/1800 W denotes the lot is illustrated at www.nealauction.com

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400

401. A Good Antique Italian Pewter Inlaid Mahogany Commode, early 19th c., blind frieze drawer above three long drawers, scrolled bracket feet, pewter stringing and scroll inlays, height 39 1/2 in., width 53 1/2 in., depth 23 1/2 in. $2000/3000 399

401

399. An Antique Dutch Repoussé Brass, Parcel Ebonized and Tortoiseshell Mirror, 19th c., pedimented crest with mask cartouche, blocked corners with floral repoussé, molded tortoise surround, beveled mirror plate, height 46 in., width 30 in. $2000/3000 400. A Napoleon III Gilt Bronze Figural Mantel Clock, c. 1870, the “Muse of Music” beside a ruined column, rocaille base, scrolled feet, striking bell movement, height 19 1/4 in, width 15 1/2 in., depth 5 3/4 in. $1000/1500

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402

402. An Antique Continental Ebonized, Inlaid and Brass-Mounted Vargueño and Stand, late 18th/ early 19th c., probably Portuguese, brass fretwork pediment, molded cornice over a configuration of short drawers centering a prospect door, the whole inlaid with exotic woods and mounted with brass rosettes; stand with blocked fluted legs, height 56 1/4 in., width 39 1/4 in., depth 15 1/4 in. $4000/6000

403. A Directoire-Style Patinated BronzeMounted Onyx Clock Garniture, the clock with architectonic case, dial with Roman numerals, flanked by Corinthian columns, mounted with rosettes and friezes with Classical figures in various pursuits, conforming garniture urns with mask handles, clock height 24 in., width 17 in., depth 8 1/2 in. $4000/6000 404. A Pair of Large Continental Carved Walnut Armchairs in the Rococo Taste, mid-19th c., shell carved crests, shaped oval backs, padded arms, scroll supports, serpentine shell carved seat rail, cabriole legs, casters, in period needlepoint upholstery. $2000/3000 403

405. A Regency Tortoiseshell and Faux Tortoiseshell Sewing Stand, early 19th c., case with a well-fitted interior, and work basket, rectangular support, incurvate plinth base, height 25 5/8 in., width 14 in., depth 11 in. $1500/2500 406. A Pair of Louis XVI-Style Gilt Bronze and Granite Cassolettes, fruit finial, monopod legs with ram’s head and hoof feet, incurvate triangular base, lobed feet, height 19 in., diameter 8 1/2 in.

405 404

$2000/3000 407. Auguste Louis Lepere (French, 1849-1918), “Cathedral d’Amiens”, 1907, etching on laid tissue, pencil signed lower right, 13 5/8 in. x 9 1/2 in., matted and framed. $400/600 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

407

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

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411. Follower of Jacob de Wit (Dutch, 16951754), “Two Music-Making Putti with the Doves of Venus”, 18th c., oil on canvas, unsigned, 30 in. x 32 1/2 in., framed. $1000/1500

410

408 (2 of 4)

408. After Raphael Urbinas Sanzio (Italian, 1483-1520), four hand-colored copper plate engravings from Le Loggie di Raffaello, Rome, 18th c., sight 21 in. x 15 in., matted and framed. $1000/1500 W 409. After Rosa Bonheur

(French, 1822-1899), “Stag Tangled in a Vine”, watercolor on paper laid on board, bears two signatures and dates: the first spuriously signed and dated “1887” in ink lower left; the second faintly signed and dated “1871” in watercolor lower center, 10 3/8 in. x 14 3/8 in., elaborate gilt frame.

410. Gabriel Henriques de Castro (Dutch, 1808-1853), “Still Life with Flowers and Bird’s Nest with Eggs”, 1836, oil on canvas, signed lower center, dated en verso, 9 1/2 in. x 11 3/4 in., period gilt frame.

$500/800

$2500/3500

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

411

Note: This composition in graybrown grisaille (possibly for an overdoor) is a highly accomplished rendering of the type of trompe-l’oeil relief design that de Wit made extraordinarily popular during his lifetime, and was emulated by at least five known followers after his death. During apprenticeships in his native city of Amsterdam (c.

1704-8) and especially at Antwerp (1708-13), de Wit was strongly influenced by Van Dyck and above all by Rubens, whose great cycle of 36 ceiling pictures in the Jesuit Church he studied and drew repeatedly.

Returning to Amsterdam, he produced, after 1714, a prolific series of decorative paintings for both institutional as well as for private clients. The more solid-looking forms of this picture refer to the earlier period of his work, since after about 1720 his compositions became more colorful, airy, and informal, probably under the influence of Giovanni Antonio Pellegrini (1675-1741) of Venice, whom de Wit must have encountered in 1716-18 at Antwerp, Amsterdam, or the Hague. The stockier bodies of these putti bespeak of his earlier fascination with Rubens, and display some of the characteristic foibles of anatomy and foreshortening, which remained typical of his work. This type of monochrome grisaille, imitating stucco relief, became de Wit’s most enduring legacy (such paintings were called ‘witjes,’ or ‘whites,’ as a play on his name), and were very widely repeated by his followers even into the 19th century.

Reference: J.E.P. Leistra, “Wit, Jacob de,” Grove Dictionary of Art, ed. by Jane Turner, 34 vols., London, 1996, vol. 33, pp. 261-262, with enumeration of five 18th/19th-c. followers by name.

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412. An Antique Flemish Verdure Tapestry, late 18th/early 19th c., depicting a parterre with birds and a manor house in the distance, later border of fruit and flowers, height 108 in., width 132 in. $7000/9000 413. A Pair of Italian Grotto-Style Carved Giltwood Armchairs, probably early 20th c., each with shell carved back and seat, dolphin carved arms, mythical carved legs. $1000/1500 414. A Baltic Parcel Gilt and Carved Mahogany Sofa Table, 19th c., drop-leaf top, bolection molded frieze with blind drawer, incurvate supports with paired griffons, scrolled trestle legs, casters, height 29 1/2 in., width 39 1/2 in., depth 29 1/4 in. $1500/2000 412

413

414

415. A Pair of LouisPhilippe Carved Mahogany Fauteuils, 19th c., each with padded back and seat, scrolled arms, lappet carved sabre legs. $1200/1800 416. A Continental Porcelain Plaque in the Orientalist Taste, early 20th c., depicting a couple in a Middle Eastern interior, signed “Mezzi” lower right, diameter 20 in., in a large giltwood frame.

416

$1800/2500 415 W denotes the lot is illustrated at www.nealauction.com

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419

419. A Pair of Belle Époque French First Standard Silver Three-Light Candelabra, in the rococo taste, cast slightly domed shaped circular base raised on four scroll supports, foliate scrolling arms, removable candle nozzles, bobêches and drip pans, height 9 1/2 in., width 9 5/8 in.

417

$2000/3000

418

420

417. A Pair of Edwardian Satinwood and Painted Kettle Stands in the Adam Taste, early 20th c., each with reticulated gallery, pull out slide, molded frieze, square tapered legs, floral swags and cascades overall, height 26 in., width 11 3/4 in., depth 11 3/4 in.

$2500/3500 421. A Set of Four Neoclassical-Style Bronze Sconces, marked Caldwell, torch form backplate issuing scrolled arms, urn finial with rams’ heads, electrified, height 14 in., width 9 in., depth 4 1/2 in.

$700/900 418. A Louis XV-Style BronzeMounted Kingwood and Burled Center Table, the marble top within bronze molding, mounted frieze, cabriole legs, sabots, height 30 1/2 in., width 38 1/4 in.

$700/900

$4000/6000

421

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420. A Continental .800 Silver Figural Centerpiece, mid-19th c., Germany, height 20 in., diameter 11 1/4 in., weight 52.50 troy ozs.

422. A Fine Pair of French Empire Brass and Enameled Astral Lamps, 19th c., original chased rims, spherical reservoirs with wicks intact, blue and gold decorated columnar standards, pedestal bases, wick adjusters marked “Brilliant Meteor Brenner/ R. Ditmar/ Wien”, one etched and frosted shade, height 32 in. $4500/5500 Note: The astral lamps offered here were made c.

1820-1830, and later converted c. 1880-1890 into kerosene lamps fitted with font and burner parts from the Viennese lamp manufacturer Rudolph Ditmar.

423. A Carved Gothic Admiral Fitzroy’s Barometer, c. 1860, walnut case with Gothic arch crest, printed gauge background, incorporating barometer, thermometer and hygrometer, signed retailer plaque “Pike/ Optician/ 518 Broadway/ New York, height 50 1/2 in., width 10 1/2 in., depth 3 3/4 in. $1000/1500 422 (1 of 2)

425

425. An American Federal Mahogany Revolving Chair, early 19th c., probably Philadelphia, reeded crest rail and arms, padded back and seat, turned reeded tapered legs. $700/900

424

424. An American Classical Carved Mahogany Games Table, early 19th c., Philadelphia, attributed to Anthony G. Quervelle, foldover swivel top, torus molded frieze with gadrooned molding centering small shell, columnar standard, incurvate plinth, acanthine paw feet, casters, height 29 1/2 in., width 37 in., depth 18 in. $1000/1500

423

Note: This fold-top games table features a number of details closely related to the work of the early nineteenth century Philadelphia cabinetmaker Anthony G. Quervelle (1789-1856), who produced bold and sculptural furniture in an elaborate interpretation of the Empire style.

Elements on this table that are frequently found on Quervelle’s furniture include the spiralgadrooned molding centering a carved scallop shell along the base of the frieze and well articulated lion’s paw feet combined with upward scrolling acanthus leaf, volute, and bracket carved with acanthus leaves alternating with gadrooning.

Reference: A work table with similar details is illustrated and discussed in Allison Boor et al, Philadelphia Empire Furniture (Philadelphia, 2006), pp. 270-271.

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

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426

426. A Monumental American Classical Carved Mahogany Dining Table, c. 18151830, Boston, the oval top opening to receive 8 leaves, each end with distinctive chamfered pedestal, the center with shaped pedestal support; an incurvate plinth, volute, lappet-carved feet, casters, height 29 1/4 in., open length 176 in., width 48 in. $8000/12000 Note: Dedicated rooms for dining became commonplace in the early 19th century. They were a place to entertain and impress one’s business associates and personal friends. Tables such as the one featured here made quite an opulent statement when highly polished and set with silver, glass and porcelains, reflecting the light of the candles in the room.

When closed, the table was small enough for an intimate family dinner, but with all eight original leaves installed, the table became a center of grand entertaining.

Having an oval top with a corresponding apron over an octagonal columnar support on shaped base, four scrolling leaf-carved feet and eight round supports, all on brass casters, this monumental adjustable dining room table would have been an impressive statement in any dining room. The boldly figured crotch-mahogany veneer repeated around the apron, the columnar support, and the base, enliven and enrich an otherwise standard table form. The beautifully carved scrolling leaf and lotus blossom feet —a favorite of Boston cabinetmakers Isaac Vose and Thomas Seymour— and the broad, strong moldings at the base of the columnar support represent a tour-de-force in Boston workmanship.

427 427. A George I Inlaid Walnut Gentleman’s Chest, early 18th c., the architectonic molded cornice with urn finials; the highly figured doors enclosing a wellfitted interior of drawers with a recessed dressing slide; the lower case with a sécrétaire drawer above three graduated drawers, molded plinth, bun feet, height 82 in., width 42 in., depth 22 in. $7000/9000

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428. A Fine American Late Federal Carved Mahogany Sideboard, early 19th c., attributed to Thomas Seymour, Boston, the plum-pudding figured top with reeded edge and unique back rail, above three drawers, cupboard doors and bottle drawers, fluted stiles above turned reeded tapered legs, highly figured veneer throughout, inscribed in chalk on underside of proper left drawer “Boston.../ Boston/ Bost/ Boston July the 4th 1811” next to a chalk design of a pinwheel, incised “Homes” or “Holman” on underside of drawer bottom, height 40 in., width 67 in., depth 24 1/4 in.

428

$8000/12000 Note: A transitional form from the late Federal to the early Boston classical style, this sideboard is indicative of the flowering of neoclassicism in Boston at the beginning of the 19th century. The style was inspired by the discoveries of ancient Herculaneum and Pompeii in the mid-18th century.

The cabinetmaker here took a familiar Federal block-ended form and enhanced it with a short veneered backsplash; large ovolo corners and broad flat pilasters on the case that are deeply fluted; tall reeded and turned legs; and small ball feet. The strong lines of the façade rely on highly grained crotch-mahogany veneer for decoration rather than the more familiar string inlays. The cabinetmaker repeated the doubled beaded edge of the top board with beading along the bottom of the case, echoing the fluting in the pilasters and the single bead on top of the backsplash, visually encasing the body of the sideboard and enhancing the bold graining of the mahogany veneer. The ring-turned and reeded legs are masterful in their execution and, being poised on their small ball feet, push the whole case upwards, providing a visual lift to the case.

Sideboards were a relatively new furniture form in the early 19th century and were used to hold and display household luxuries such as linens, silver, glassware, wines and other spirits. All of the doors and drawers had locks to protect the family possessions. The highly polished mahogany would have reflected candlelight from the top of the sideboard and from the dining table, creating a rich and inviting environment in which to dine.

429

429. A William IV Carved and Inlaid Rosewood Library Table, c. 1830, inset leather top, frieze drawer and opposing fall front escritoire drawer, columnar standard, molded cabriole legs ending in scrolled toes, casters, height 31 1/4 in., width 42 in., depth 41 1/2 in. $2000/3000

Robert D. Mussey, expert on works from the workshop of Thomas Seymour, indicates to the present consignor that the lot offered above is likely Seymour.

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owners were his older brother, John, and his uncle, William Wister. Upon the death of his uncle in 1800, Charles became a partner in the business, which was located at 143 High Street.

William Wister bequeathed to his nephew the family’s country residence in Germantown, a rural township located north of the city of Philadelphia. Built in 1744 by John Wister, Charles J. Wister’s grandfather, the stone house that still stands along 430 (detail) Germantown Avenue, which was the main thoroughfare in the township, is believed to be the first example of a residence constructed as a summer home for a Philadelphia merchant in the 18th century. The Wister family’s country seat, named “Grumblethorpe,” included eight acres of land comprising gardens, orchards and crops.

Charles Wister, an avid gardener with a passion for the natural sciences, began to rigorously develop the garden and farm in 1806. He took advantage of the latest scientific technologies and always used the most modern plant varieties. During his period of ownership, Grumblethorpe achieved acclaim for its horticultural significance. In 1811, Charles made Grumblethorpe his permanent residence and retired from business, devoting his time entirely to his interests in agriculture, horticulture, botany, mineralogy, and astronomy.

Fitted in the cupboard section of the secretary bookcase are multiple “specimen” drawers, a feature that reinforces the speculation that this case piece was made for Charles J. Wister of Grumblethorpe. An enthusiast of the natural sciences, Wister is known to have collected minerals and other specimens. He was a founding member of the Twilight Club, which was responsible for developing the Philadelphia Academy of Natural Sciences.

References: Jay Davidson Susanin, “Grumblethorpe: An Historic Landscape Report,” master’s thesis written for the Graduate Program in Historic Preservation, University of Pennsylvania (1990), pp. 26-38; Roger W. Moss, “Historic Houses of Philadelphia” (Philadelphia, 1998), pp. 140-142; Beatrice B. Garvan, “Federal Philadelphia, 1785-1825: the Athens of the Western World” (Philadelphia, 1987), p. 48; Philadelphia City Directories, 1797-1810.

430

430. An American Federal Carved Mahogany Bookcase and Collector’s Cabinet, 1807, Philadelphia, the upper case with molded cornice, rectangular mullions, original glazing, lower case with standing writing desk, two doors with oval inlay opening to specimen drawers, shaped apron, “French” feet, inscribed, height 98 in., width 52 1/2 in., depth 25 in.; accompanied by the original bill of sale from English & Jones to Charles Wister dated 1807. $5000/7000 Note: The secretary bookcase in the present lot exhibits features typical of writing furniture made in Philadelphia during the Federal period, including richly figured mahogany veneers, oval panels on the cupboard doors and front of the secretary drawer, and an elegantly shaped apron accentuated by the curve of the flared French feet.

According to the surviving bill of sale, dated November 7, 1807, this secretary bookcase was made by the Philadelphia firm of English and Jones, located at 118 Chestnut Street. The firm was listed in Philadelphia city directories for the first time in 1807. The partners in the firm may have been Samuel English and Samuel Jones, each of whom was listed as a cabinetmaker in Philadelphia directories of the early 19th century.

The bill of sale for the secretary bookcase is made out to Charles Wister. In all likelihood, this gentleman was Charles J. Wister (1781-1865), a Philadelphia merchant who worked in partnership with his brother, John Wister. Charles began as an associate in the counting house of Wister, Price & Wister, whose principal

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431

431. A Pair of George III Inlaid Mahogany Serpentine Knife Boxes, c. 1790, each fitted with inlaid knife slots, original silvered brasses, barber pole and chevron inlays, height 14 1/2 in., width 9 1/2 in., depth 11 in. $2500/3500

432. John James Audubon (American, 1785-1851), The Birds of America, New York and Amsterdam: Johnson Reprint Corporation and Theatrum Orbis Terrarum Ltd., 1971-1972, Amsterdam edition, with 435 offset color lithograph plates, loose as issued in gray card portfolio wraps, the limitation page stating this copy “number 167” of 250, sheet 39 1/2 in. x 26 1/2 in., housed in original raised oak flat files, with fallfront doors, flat file height 30 in., width 42 in., depth 29 in.

434

435. A Rare Cornelius & Baker Gilt and Patinated Zinc Figural Gas Hall Pendant, c. 1854, marked “Cornelius & Baker”, Philadelphia, harp shaped standard centering a bowl in the form of Venus emerging from her shell, flanked by two serpentine dolphins, etched glass shade, height 27 in., width 23 1/2 in. $3000/5000

$12000/18000

432

Provenance: Private Collection, New Orleans, LA.

433

433. A George III Sterling Silver Salver, Hester Bateman, London, 1783, plain circular form with beading below and applied at the edge of the low flat rim; engraved with a crest; raised on claw and ball feet, height 1 1/2 in., diameter 13 in., weight 25.75 troy ozs. $3000/5000 434. An Good Elkington Silverplate Centerpiece, 1859, molded glass bowl on grape and grapeleaf support, the base mounted with stag and hounds, height 19 1/2 in.

435

$1800/2400 W denotes the lot is illustrated at www.nealauction.com

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436

437

438 436. A Rare Pair of Cornelius & Baker Gilt and Patinated Bronze Figural Gas Brackets, c. 1855, marked “Cornelius & Baker”, Philadelphia, each modeled as Venus emerging from her shell, etched glass shades, height 18 in., width 6 3/4 in., depth 13 in.

437. A Fine American Gilt and Patinated Bronze Three-Light Solar Chandelier, c. 1850, each font with mark “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.

$2500/3500

$2500/3500

Provenance: Joan Bogart, Longbeach, NY; Private Collection, New Orleans, LA. Note: The Classical figural motifs on the gas brackets offered here and on the hall pendant in the preceding lot are rare designs not commonly seen in Cornelius and Baker lighting of the mid-1850s.

Allegorical statuettes were quite the vogue in American parlor sculpture and lighting following the Great Exhibition of 1851 in London’s Crystal Palace, which featured many antiquities from the British Museum. These Victorianized (partly clothed) statuettes were likely influenced by various Hellenistic models of “Aphrodite/ Venus Crouching” and “Aphrodite Riding a Dolphin,” which have been excavated on Greek and Roman sites since the Renaissance. Period lighting with similar aesthetic designs to the ones offered here are illustrated in Bacot, Nineteenth-Century Lighting (1987), p. 29 and in an early 20th century photograph of a hall pendant in the home of Isabelle Bronson, Summit, NJ, illustrated in Peter Kenny, Duncan Phyfe (2011), p. 132.

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438. A Near Pair of American Federal Carved Mahogany and Brass Inlaid Games Tables, early 19th c., possibly Samuel Field McIntire, Salem, MA, molded serpentine foldover tops, brass inlaid frieze, distinctive carved punchwork and acanthus capitals on tapering spiral turned legs, casters, height 29 in., width 37 in., depth 18 7/8 in., and height 29 in., width 35 in., depth 16 1/2 in. $4000/6000 Note: Tables made in the manner of McIntire are characterized by legs combining ring and rope turnings, friezes composed of compound curves, and outset rounded corners carved with acanthus leaves on a star-punched ground, all of which are seen on the current lot and on examples from the Winterthur Collection. More elaborate examples of Salem games tables are distinguished by brass inlay forming a shaped panel in the convex center of the frieze, as found in the two games tables presented here.

Reference: Montgomery, Charles. American Furniture, The Federal Period in the Henry Francis du Pont Winterthur Museum.

(New York: Macmillan, 1966) figs. 308-313.

439 439. A Chinese Export Famille Rose Porcelain Bowl, late 18th c., U-form body raised on a tall foot ring, decorated around the exterior sides with figures in garden settings and bird-on-branch panels, interior well with figural roundel, height 4 3/4 in., diameter 11 1/4 in. $1500/2500 Provenance: Joel N. Weinstock Collection, New Orleans.

440. A Pair of Chinese Export “Canton Enamel” Dishes, probably Qing Dynasty (1644-1911), each of shallow bowl-form decorated with a central flori-form medallion enclosing pairs of cranes standing on a rock outcropping amid chrysanthemums, height 1 7/8 in., diameter 10 1/2 in.

440 443. A Fine Derby Porcelain Partial Dinner Service, 19th c., blue ground, floral reserves, comprising a large platter (length 14 in.), shaped serving dish, pair of shellshaped dishes, oblong serving dish, pair of covered tureens with undertrays, 6 dinner plates, 6 dessert plates, and a footed smaller platter, (22 pcs.) $1000/1500 Provenance: Estate of Madelyn C. Kreisler to Joel Weinstock, New Orleans.

441

$1000/1500 441. A Pair of Chinese Export Famille Verte Porcelain Barbed Rim Chargers, 17th/18th c., bowlform bodies with wide everted rims, decorated with central fenced garden scenes with potted plants and spotted deer, bases with ribbon wrapped diamond marks, height 2 3/8 in., diameter 15 1/4 in.

442

$2000/4000 442. An Assembled Chinese Export Blue and White “Nanking” Porcelain Partial Dinner Service, 18th and 19th c., comprising 2 large tureens and conforming underplates; 1 small tureen and underplate; 1 sauce boat; 3 shallow bowls; 1 leaf-form dish; 13 plates; 1 covered sugar; 1 covered creamer; 6 coffee cups; 2 tea bowls; and 8 saucer dishes, largest tureen height 8 3/8 in., width 13 1/4 in., depth 8 1/4 in. (42 pcs). $1000/1500

443

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445

446

447

447. A Fine Natchez Coin Silver Sweetmeat Basket, Emile Profilet (1801-1868), act. Natchez 18231868, marked “E. PROFILET” in rectangle, footed navette form, trompe l’oeil basketweave with ropetwist borders and swing handle, height (to top of handle) 6 7/8 in., width 6 3/8 in, depth 4 1/8 in., weight 8.65 troy ozs. $4000/6000 Reference: Nineteenth Century Natchez-Made Silver, pp.

20-25.

448

W 444. An English Ironstone Pitcher

and Bowl, 19th c., pitcher height 9 1/2 in., bowl diameter 12 in.; together with a rare Leeds transfer bowl decorated with a clipper ship, diameter 10 in., (3 pcs.) $250/500 Provenance: Estate of Major Philip St. George Ambler IV. 445. A New Orleans Coin Silver “Medallion” Goblet, Adolph Himmel, wc. 1869-1877; marked “ST. L. DESTEZ / A.H / NEW ORLEANS / COIN” incuse; ovoid cup with repoussé and chasing, oval reserve with applied medallion opposite another reserve engraved in script “Louis Goldsmith / from his / Godfather / Ferd. Goldsmith / Dec 10th 1877”; molded and tapered lower section of the bowl mounted with circular foot with applied cable border, height 7 1/2 in., weight 8.65 troy ozs. $700/1000

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446. A New Orleans Coin Silver Syrup Pitcher with Undertray, Adolphe Himmel (1825/6-1877), wc. 1869-1877, for Hyde & Goodrich, 18281861, pitcher marked “HYDE & GOODRICH” in arc, over “H” over “NEW ORLEANS” in complementary arc, undertray unmarked but matching, cover with repoussé acanthus and floral finial, floral repoussé body, flared foot with leaf and inverted papyrus border, height 7 1/2 in. $2000/3000 Note: The same distinctive foot rim is seen on a Himmel for Hyde & Goodrich covered creamer jug illustrated p. 47, Crescent City Silver.

448. A Fine Mississippi Coin Silver Coffee Pot, Hot Milk Pitcher and Sugar Urn, George Macpherson, act. Natchez 18431871, marked “G.MACPHERSON” in rectangle, vasiform, domed lids with strawberry finials, branch-form handles with strawberries, chased with lotus leaves, flowers and palmettes, foot with rolled band of decoration, Gothic monogram “HK”, coffee pot height 12 1/2 in., pitcher height 9 1/4 in., urn height 9 in., combined weight 78.05 troy ozs, (3 pcs.) $7000/10000 Note: Born in Scotland, silversmith George Macpherson is documented as working in Natchez as early as 1843. In 1849 he bought the shop on Main Street that would be his business address until he sold the property in 1872, after he had moved back to Scotland. His home in Natchez was “Cherokee”, the handsome Neoclassical townhouse which stands today.

A closely related coffee pot and covered pitcher made by Macpherson for Mississippi Governor Gerard Chittocque Brandon are illustrated in Nineteenth Century Natchez-Made Silver, p. 35.

See also the Macpherson sugar bowl from the Governor Brandon set, which sold in these rooms June 25, 2011, lot 234.

Reference: Nineteenth Century Natchez-Made Silver, pp. 32-45.

449. An Important New Orleans Ursuline Convent Coin Silver Soup Ladle, c. 18201830, Anthony Rasch (1778-1858), wc.

Philadelphia 1801-1820, New Orleans 1820-1858; marked “A.RASCH.” in rectangle, fiddle typt handle with square shoulders, engraved on reverse “S.U/PEN”, length 13 1/2 in., weight 7.6 troy ozs. $4000/6000 Provenance: A New Orleans Gentleman; exhibited “A Visible Presence, A Legacy of Service: 275 Years of the Ursulines”, The Historic New Orleans Collection, May 2003.

Note: In February 1727, a handful of Ursuline nuns from Rouen came to New Orleans with the mission of nursing the sick and educating young women. By the time their first convent was completed in 1734, the sisters’ responsibilities had expanded to include care of orphans and “women and girls of bad life”, whose presence in the small community had become a burden.

The Ursuline Convent, presently standing on Ursuline Street, is the second on the site and was completed in 1753. It is the only structure in New Orleans to have survived from the French Colonial city.

When Louisiana became part of the United States in 1803, the Ursulines feared for their property and wrote to President Jefferson for assurances, which they received, that their property and means for carrying on their works of charity would be secure. However, a dispute over a portion of the convent property developed, and in 1824 the nuns were obliged to make a land swap with the United States.

After occupying their home for nearly a century, the nuns decided to build a new convent about two miles down river and eventually sold much of their French Quarter property to defray the cost of construction.

Nothing is left of what was apparently a handsome collection of early Greek Revival buildings—the site of the second convent complex now lies under the Industrial Canal. It was probably in these buildings that this Rasch ladle was used, most likely by one of the more wealthy nuns, who all were required to supply their own silver and linens at the time they entered the convent.

A dessert spoon made by Anthony Rasch for the Sisters of the Ursuline convent and engraved “SU/PEN” sold in these rooms April 8, 2000, lot 273.

450. An Important New Orleans Ursuline Convent Coin Silver Ragout Spoon, c.

1820-1830, “ghost” of rectangular mark, possibly Rasch, fiddle handle with square shoulders, engraved on reverse “SU/PEN”, length 11 1/8 in., weight 3.65 troy ozs. $1500/2500 Provenance: A New Orleans Gentleman

449

450

451. A New Orleans Coin Silver Beaker, Jean P. Bellanger, wc. 18101827, marked “Bellanger” in rectangle, double struck, seamed construction with applied moldings, engraved in script “T. Frazer”, height 3 3/8 in., weight 4.05 troy ozs. $1000/1500

451

Reference: Crescent City Silver, p. 118, mark illustrated p.

125; Mackie, Carey Turner et al. New Orleans Silversmiths, Goldsmiths, Jewelers, Clock and Watchmakers 1720-1870. p. 12.

452. A New Orleans Coin Silver Beaker, Jean-Marie Lamothe (b.

Sainte-Domingue 1795, d. New Orleans 1880) and Jean-Baptiste Lamothe (b. Sainte-Domingue 1800, d. New Orleans 1874) wc. 18241846, marked “Lamothe” in conforming cartouche, triple struck, seamed construction with applied molded rims, engraved in script “A. Hoa”, height 3 1/4 in., weight 3.25 troy ozs. $1000/2000 Note: The Lamothe brothers were members of the largest family of silversmiths in 19th century New Orleans, which included their father, master silversmith Pierre Lamothe, 452 their maternal grandfather Jean Couvertie, uncles Jean-Baptiste and Louis-Gabriel Couvertie, as well as cousins. The family fled their home in Sainte-Domingue during the slave uprising, going to Santiago de Cuba in about 1803.

They came to New Orleans in 1810 when the French were expelled from Cuba. Jean-Marie Lamothe served as sergeant in Plauche’s Battalion, Louisiana Militia, during the Battle of New Orleans.

Reference: Crescent City Silver, pp. 68-73, closely related beakers illustrated pp.72 and 73, mark illustrated p. 126; Mackie, Carey Turner et al. New Orleans Silversmiths, Goldsmiths, Jewelers, Clock and Watchmakers 1720-1870, pp. 100-101.

Exhibited: “A Visible Presence, A Legacy of Service: 275 Years of the Ursulines”, The Historic New Orleans Collection, May 2003.

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453

454

454. A West Indies Carved Mahogany Four Post Bed, early 19th c., possibly Jamaica, boldly carved, pineapple and acanthine posts with ball finials, flat canopy, scrolled headboard centering a palmette accented with brass rosettes, straight rails and foot board, acanthine legs ending in brass ferrules, height 92 in., interior length 82 1/2 in., interior width 57 in. $5000/7500 Provenance: An old New Orleans collection, found in a distinguished estate of the Garden District.

Note: The robust pineapple-carved posts and the exuberant palmette carvings cresting the headboard on this bed relate closely to those seen on two beds at Rose Hall Great House, Montego Bay, Jamaica.

455

453. A New Orleans Presentation Silverplate Tray, c. 1860, foliate handles, decorated with scrolls, flowers, a deer and a dog, the reserve engraved “Presented to/ Mrs. M. Grivot/ By the Members of the/New Orleans Club/ As a slight acknowledgement of their obligations to her husband/ Genl.

Maurice Grivot/ April 4th 1860”, 18 3/4 in. x 28 1/2 in. $600/900 Note: Maurice Grivot was the Adjutant and Inspector General of Louisiana from 1855 to 1863.

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Reference: Slesin, Susan and Stafford Cliff. Caribbean Style. New York: Clarkson Potter, 1985, pp. 142; see also Connors, Michael. Caribbean Elegance. New York: Harry Abrams, 2002, pp. 114-115.

455. A Louisiana Inlaid Cherrywood Armoire, early 19th c., molded cornice, inlaid frieze centered by a monogram “B”, paneled doors with fiche hinges and center stile, interior fitted with shelves and medial belt of drawers, paneled sides, scrolled apron, cabriole legs, height 83 in., width 55 1/2 in., depth 21 1/2 in. $12000/18000 Provenance: Descended in the Reggio family, New Orleans, LA. Note: The use of cherrywood, inset panels, rounded corner stiles, plain “false” stile engaged to a door, the arrangement of six fielded panels comprising the back, aprons centered by swags, and restrained cabriole legs on this armoire relate closely to those known from a group of Louisiana Creole armoires associated with the workshop of free man of color Celestin Glapion (born c. 1784, St. Charles Parish, active New Orleans, c. 18001830), most notably a cherry armoire in the collection of Marjorie Hollensworth.

Reference: Holden, Jack, et. al. Furnishing Louisiana, Creole and Acadian Furniture, 1735-1835. New Orleans: The Historic New Orleans Collection, 2010, pp. 153-156, fig. 32-38. Ibid. pp. 169-180, fig. 58-70.

456. An American Classical Carved Mahogany, Ebonized and Gilt Stenciled Sideboard, c. 1825, attributed to the workshop of Joseph Meeks and Sons, New York, pedimented and paneled backsplash, bolection molded frieze drawers, base with two bowfront doors flanking a raised panel door, tapered columns to the sides, eagle bracketed hairy paw carved feet, height 55 3/4 in., width 61 1/4 in., depth 26 1/4 in. $6000/8000 Note: The sideboard in the current lot represents the apex of Classical furniture made in New York City between 1820 and 1830. Richly figured mahogany veneers are combined with stenciled and freehand-painted gilt decoration that imitates gilt-bronze mounts and brass inlays. Ebonizing provides contrast and highlights the architectural details such as the columns flanking the cupboard doors and the pedestal-like sections of the backsplash. Finally, the exuberantly carved paw feet feature the added detail of eagles with wings that form brackets extending below the plinth base.

The sophisticated quality of the sideboard offered here suggests that it was made by the high-end New York City cabinetmaking firm Joseph Meeks and Sons. In 1833, Meeks and Sons published a broadside that illustrates a number of designs for different types of furniture manufactured by the firm. The form of the current lot is nearly identical to the sideboard that is listed as design #33 in the broadside. Like the sideboard represented in the broadside, the offered lot consists of two convex doors and a center door with a raised and beveled panel, flanking columns, two torus-molded frieze drawers, and a backsplash with raised pedestal ends.

Included in the collection of Bayou Bend in Houston, Texas, is a c.1830 mahogany and gilt-stenciled sideboard with eagle and lion’s paw feet, attributed to Meeks and Sons. The current lot is very similar to the example at Bayou Bend, differing only in terms of the design of the backsplash and the motifs in the gilt decoration.

References: Wendy A. Cooper, “Classical Taste in America, 1800-1840” (New York, 1993), pp.

210-211; David B. Warren, “Ima Hogg, Collector,” The Magazine Antiques (January 1982), p.

239.

456

457. A Very Important New Orleans Coin Silver Repoussé Tea Service, Christoph Christian Kuchler and Adolphe Himmel for Hyde & Goodrich, c. 1852-1853, marked “HYDE & GOODRICH” in arc, over “MANUFACTURERS” in rectangle, over “NEW ORLEANS, LA” in complementary arc, “WARRANTED/PURE COIN” in scalloped rectangle with ends formed by anthemia, and “K&H” in oval; comprised of a hot water urn on stand, teapot, covered sugar, covered creamer and waste bowl, domed covers with Asian figural finials, pear-shaped bodies chased with roses and convolvulus, monogrammed cartouches, branchwork handles; urn height 14 in., total weight 124.34 troy ozs. $18000/25000 Provenance: Descended in the Robertson/Livermore/Belden Families of Memphis and New Orleans.

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

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458

460

459

462

459. A New Orleans Coin Silver Water Pitcher, Adolphe Himmel (1825/6-1877) for Hyde & Goodrich, 1853-1861, marked “H”, “HYDE & GOODRICH” in arc, over “MANUFACTURERS”, over “NEW ORLEANS” in arc, baluster shaped body, molded lip and foot rim, scroll handle, chased scroll cartouche engraved “Randolph/1854”, flanked by flowers and foliage, height 9 3/4 in., weight 20.65 troy ozs. $2500/3500

461

458. A Natchez Coin Silver Ladle, Thomas Chester Coit, act. Natchez c. 1820-1841, marked “T.C.COIT.” in rectangle, fiddle handle with script monogram, length 13 3/8 in., weight 6.50 troy ozs. $1500/2500 Reference: Nineteenth Century Natchez-Made Silver, pp 14-19.

Reference: Crescent City Silver, pp. 41-55, 121; Mackie, Carey Turner et al, New Orleans Silversmiths, Goldsmiths, Jewelers, Clock and Watchmakers 1720-1870, p. 81.

$1500/2500

460. A New Orleans Coin Silver Soup/ Tablespoon, c. 1820-1830, Jean-Noel Delarue (1776-1842), wc.1802-1842, marked “De/ Larue” in script in oval flanked by bees in octagonal cartouches, fiddle back with mid rib, engraved on reverse “SU/No. 1/”, length 8 1/4 in., weight 2.3 troy ozs.

462. A New Orleans Coin Silver Salver, Edward A. Tyler (1815-1879), act. New Orleans 1838-1879, marked “E.A.TYLER.” in rectangle and “NEW ORLEANS” in rectangle, oval with molded serpentine rim, chased well with landscape and wild game vignettes, central cartouche with script monogram, reticulated scroll feet, length 14 3/8 in., width 11 5/8 in., weight 31.80 troy ozs.

$1200/1800 Provenance: A New Orleans Gentleman. Exhibited: “A Visible Presence, A Legacy of Service: 275 Years of the Ursulines”, The Historic New Orleans Collection, May 2003.

Note: A group of coin silver flatware made by JeanNoel Delarue and engraved “SU/No.1” sold in these rooms April 8, 2000, lot 272.

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461. A Natchez Coin Silver Presentation Cup, Thomas Chester Coit, act. Natchez c. 18201841, marked “T.C.COIT.” in rectangle, presentation inscription “B. Hale Ives/ from his cousins/ Stephen David Henry/ Mary E. & Margaret/ Octr. 1837”, seamed construction with applied loop handle, height 3 1/8 in., weight 2.35 troy ozs.

Reference: Nineteenth Century Natchez-Made Silver. pp. 14-19.

$3000/5000 Reference: Crescent City Silver, pp. 96-98.

463

463. José Francisco Xavier de Salazar y Mendoza (Mexican / New Orleans, c.

1750-1802), “Dr. Robert Dow, MD (1753-c. 1841), New Orleans”, 1791, oil on canvas, signed “Salazar pinxit” lower right, and inscribed on letter held by the sitter “To / Mrs. Ker. / at Greenock / from her Brother / R. Dow at N. Orleans / March 25, 1791”, storage label of late 19th c. from “Mrs. A. G. Ker, Bucknell, Salop. [Shropshire]” en verso of stretcher, 37 in. x 28 1/4 in., antique giltwood frame. $80000/120000 Provenance: Probably a wedding present from the sitter to his favorite sister Ann Dow (1765-1822) and her husband Alan Ker (1761-1828), Greenock, Scotland; to their son, Robert Dow Ker (1793-1882); by direct descent from that godson of the sitter to Mrs. A. G. Ker, Shropshire; her heirs; Dreweatts, U.K., 2013.

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Note: The exceptional inscription marks this wonderful painting as a ‘presentation picture,’ clearly intended to be dispatched as directed on the fictive letter held in the sitter’s hand. This specificity of the depicted writing materials, the nearby desk (with its French-style cartonnier), and the characteristic pose and costume, all relate this canvas to a host of strikingly similar “court paintings,” executed in Spain as well as in the imperial capitals and even the provinces of Spanish territories in the New World. In Madrid itself, many coeval masterpieces by the toweringly important Francisco de Goya (1746-1828) follow this identical pattern.

Goya’s male portraits of this decade— paintings of 1795, 1796, 1797, 1798, 1801, and 1802 in the Banco de España and the Prado in Madrid, the Kimball Art Museum, Fort Worth, the Musée de Strasbourg, the National Gallery of Art, Washington, and the Pinakothek, Munich—all share this courtly compositional formula, with three-quarter poses holding letters, monochromatic draperies with short wigs, and several of the sitters with their right hands inside their waistcoats.

Jamaica to Dr. Robert; while William (presumably the son born to this family in 1756) is recorded to have died at Antigua in 1803. Dr. Robert would have completed his medical degree in the early 1770s; by about 1775 he appears on the Leeward island of St. Eustatius, as a companion to one of the mythic figures in American history and letters, Charles Percy (1740-1794). That progenitor—of a family among “the most remarkable and fascinating in America,” a family known above all for William Alexander Percy’s “lovely memoir Lanterns on the Levee” [1941] and the prize-winning novels of Walker Percy (1916-1990)—was a shadowy Irishman in the short-lived regiment of “Gentleman Johnny” Burgoyne. Charles Percy may or may not have married while stationed at Kilkenny (1758-63); he certainly left a mother with two small children. In any event, he sailed alone in the early 1770s to (or via) Bermuda and then on to North Carolina, where he claimed to have had an extensive property.

Dr. Robert Dow was educated at Edinburgh, “a leading medical center,” as the second-oldest son of a prominent Scottish clergyman. He and apparently three of his brothers went as young men to the West Indies: Stewart (1748-86) became a merchant in Bermuda; John (1760-97) left his estate in

sons, of whom Dr. Dow became paternally fond: Thomas Urquhart (17731841) and David Urquhart (1778-c. 1840s). The couple was married in St. Louis Cathedral on 9 September 1781. At his wife’s death, Dr. Dow estimated their joint estate at the then very significant total of $32,000.

Dr. Dow had established himself on St. Eustatius by the time Charles Percy arrived in July of 1775 as a Tory refugee from the American Revolutionary War. From the Dutch Francisco de Salazar was born, trained, and island they sailed together in September 1776 married, at Mérida in the Yucatán. Presently, to Pensacola, with the aim of increasing their new work is being done on regional painters wealth on America’s southern frontier. To such as Ignacio Barreda y Ordoñez (fl. 1750military veterans and other Loyalists, the 1800), as for example in monographs by British government was offering grants of Carrera (2003) and Katzew (2004); parallel land in its new territories of the transstudies of the capitals at Mexico City and Appalachian “Old Southwest.” Governor Havana may be expected to uncover further Peter Chester of Pensacola awarded Dow portraits in this international courtly style. As 1000 arpents. Dow and Percy traveled matters stand, we may certainly say that together to the Old Natchez District and Salazar was a remarkably fluent practitioner in began developing their properties: Dr. Dow this pan-Spanish imperial manner, and that retained his (on Cole’s Creek) without much the large size, commanding presence, and change until he obtained further patents in 463 (detail) appealing character of his Dr. Robert Dow 1791 and again in 1808; but Percy (whom make this portrait one of the most impressive Chester had appointed a Natchez officer) examples within this tradition. It is all the soon began to develop a large nucleus of more striking that its date of 1791 actually precedes every one of Goya’s land, east of the future Fort Adams. parallel paintings. Indeed, the composition of Salazar’s Dr. Dow is so Dr. Dow traveled in 1778 to New Orleans and obtained an appointment precisely antecedent to Goya’s Queralto of 1802, that one almost imagines a from the Spanish Governor Bernardo de Gálvez to the Royal Hospital in direct influence, but it doubtless reveals, rather, the unusually homogeneous 1779. During the next year, he met and courted the recent widow of character of this international Iberio-Hispanic courtly tradition. another Scotsman, Angélica Monsanto (c. 1744-1821), with her two young

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Angélica, though her Jewish family had immigrated from The Hague, via Curaçao, had become an ardent Protestant. Dow was Senior Warden of the newly-founded Christ Church for eight years and a close friend of its nationally prominent first rector, Rev. Philander Chase.

On 31 May 1785, Robert Dow left New Orleans for an extended trip to Europe. Dow stated that the purpose of his voyage was urgent family business, likely the terminal illness of his father, Rev. R. Dow (1707-1787) in Ayrshire. It is noted that during the trip, he wrote from Bordeaux on 25 August 1785 to Count José de Galvez (Don Bernardo’s uncle) to lobby for the continuation of his post at the Royal Hospital, only to be informed that another “surgeon of considerable skill” had been “irrevocably” given the appointment earlier that year. Dow moved on to Charity Hospital, where he eventually served on the board.

Most interestingly during this visit, Dr. Dow met for the first time Lieutenant Robert Percy of the Royal Navy (17621819) who was the son of Charles Percy and his recently deceased consort, Margaret. Dr. Dow and Lt. Percy established a fraternal bond that would link them unalterably through the whole extent of their lives, as recorded in their many subsequent letters to each other. (substantial numbers of which are preserved in Baton Rouge, Massachusetts and elsewhere). So tight were their bonds of affection that Robert and Jane Middlemist Percy later named their first son after his godfather, Robert Dow Percy (1804-1863).

463 (detail) Dr. Robert Dow’s appearance in this magisterial portrait, offered here as Lot 463, is clear testament to his affluence, devotion, and importance within the complex and evolving territory of Louisiana. In an invitation of June 1787 to General James Wilkinson (also portrayed by Salazar at New Orleans in 1799, as sold in these rooms on 22 November 2013), Dow offered lodging and hospitality to General Wilkinson during the first of his controversial visits to New Orleans, at the Dows’ house in Condé Street. Wilkinson eventually wrote a manuscript eulogy (among the Urquhart papers) on Angelica Dow’s death, praising “her generous hospitality…sumptuous table [Dr. Dow seems to have reached his advanced

age mainly on a diet of ‘luscious beef,’ claret, and port]…urbanity, and good cheer.”

Lacking children of his own, Dow proved most remarkably supportive throughout his life to Angélica Dow’s sons. Thomas Urquhart was described

by Governor Claiborne as “well informed, in High Credit, & enjoying an independent fortune;—President of the Louisiana Bank, & of the NewOrleans Insurance Co.; a Member of the House of Representatives”; in time, Thomas married Caroline Trudeau, daughter of the Mayor of New Orleans. David Urquhart was also a successful sugar planter, merchant, and banker: he achieved the very great distinction of a marble portrait bust carved by Hiram Powers. Dr. Dow’s two beloved godsons also have had an enduring legacy on the art world.

Robert Dow Percy took John James Audubon into the dense woodlands of his father’s plantation to paint the world-famous “Wild Turkey Cock,” the highly important first plate of The Birds of America, while his nephew, Robert Dow Ker (1793-1882), had the good fortune to inherit from his mother the splendid portrait offered here.

The painting offered here as lot 463 puts into evidence Dr. Robert Dow’s historic importance to late 18th/early 19th c. Louisiana while at once presenting him as courtly, handsome, international and highly accomplished. Both Salazar and his illustrious sitter clearly seem to have intended in this portrait not only a “presentation picture”, but a lasting image of the affluence and character of Dr. Dow himself.

Acknowledgement: We remain ever grateful to Dr. Douglas Lewis for his research and leadership on Robert Dow, including his discoveries regarding Dow’s importance and friendships within the Natchez District.

Sources: Urquhart Family Papers, Manuscripts Division, Howard-Tilton Memorial Library, Tulane University; LongcopeJohansen Papers, Cornhill Farm, Lee, MA; Papers of Oscar M. Thompson and William H. Wright Jr., Hill Memorial Library, LSU, Baton Rouge; General James Wilkinson, Memoirs of My Own Times, 3 vols., Philadelphia, 1816, esp. 1:198, 367, 2:474, 3:790-791; Hew Scott, Fasti Ecclesiæ Scotanicæ: the Succession of Ministers in the Church of Scotland from the Reformation, 9 vols., Edinburgh, 1915 et seq., vol. 3, p. 79; M. W. McBee, Natchez Court Records, 1767-1805, Greenwood, MS, 1953 (repr. Baltimore, 1979), throughout; John Duffy, ed., History of Medicine in Louisiana, Baton Rouge, 1958; Bertram W. Korn, The Early Jew of New Orleans, Waltham, MA, 1969, esp. pp. 50-54; David Dobson, Directory of Scottish Settlers in North America, 1625-1825, Baltimore, 1993, 2:56, 3: 49; Bertram Wyatt-Brown, The House of Percy, New York and Oxford, 1994, esp. pp. 25-63, 363-384 (with the fullest documentation of any of these sources); Jared William Bradley, Interim Appointment: W.C.C. Claiborne Letter Book, 1804-1805, Baton Rouge, 2002, esp. pp. 580-584; Cybèle Gontar, “Salazar y Mendoza,” The Magazine Antiques 179:6 (Nov.-Dec. 2012), pp. 142-149.

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465

and Frédéric (Federico) Miahle. The works exhibited by Mialhe are strikingly similar in their topographical/ panoramic view and detail to the views offered here. The draftsmanship and acuity of Mialhe’s watercolor studies, from which three lithographic albums (books) were published between 1841 and 1855, make many of the plazas, streets and harbors he sketched still identifiable more than 150 years later. The raised semi-circle right bank in the “Panorama”, and serpentine cove that forms the left coastline with what appears to be a lighthouse on the horizon in “View from a Terrace” are suggestive of the Havana Harbor with its iconic Castillo del Morro fortress and lighthouse.

464

Frédéric Mialhe was an accomplished French painter and engraver, who studied under Picot and debuted at the Paris Salon of 1831.

Thereafter, he exhibited works regularly at the Salon until 1861, gaining noted recognition for his “exotic” Cuban landscapes. In 1838, Mialhe was contracted by the Cuban printing house Real Sociedad Patriótica to document the island. The project continued for more than fifteen years and culminated in two book publications of prints: Isla de Cuba, Isla de Cuba Pintoresca (1841) and Viaje Pintoresco por la Isla de Cuba (later reprinted as Album Pintoresco de la Isla de Cuba). Mialhe’s historical views remain an important visual record of colonial Cuba that inspired generations of artists and writers well into the 20th century.

References: Mialhe, Frédéric. Album Pintoresco de la Isla de Cuba [Picturesque Album of the Island of Cuba]. Havana: B. May y Ca., c. 1855; Voyageurs Français à Cuba, Dossier de Presse. Havana: National Museum of Fine Arts, 2013; Bénézit, E. Dictionnaire Critique et Documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs. vol 6. Paris: Librairie Gründ, 1966, p. 102; “Picturesque Album of the Island of Cuba, Pierre Toussaint Frédéric (Federico) Miahle, c. 1855.” George Glazer Gallery.

2014. www.georgeglazer.com. Accessed Oct. 16, 2014.

466

465. After William Edward West (American, 1801-1861), “Battle of New Orleans and Death of Major General Packenham on the 8th of January 1815”, engraved by J. Yeager, 1817, 16 in. x 20 3/4 in., framed. $1200/1800

464. Attributed to Pierre-Toussaint Frédéric Mialhe (French, 18001868, active Cuba, 1838-1854), “Two Coastal Views of a Tropical Port, probably Havana”, watercolors on paper laid on board; the first (view from a terrace), signed lower left, 10 5/8 in. x 16 in., unframed; the second (panorama) signed indistinctly lower left, 9 7/8 in. x 15 in., unframed. (2 pcs.) $2000/3000 Note: Given the topography, ships, flora, and style of architecture, these two views of a thriving Caribbean port probably depict the Harbor of Havana, or possibly Cojimar Bay in East Havanathe setting for Ernest Hemingway’s Old Man and the Sea (1952). Cuba, the ‘Pearl of the Antilles’ with its many beautiful ports, rich in commerce and narratives of piracy was widely illustrated throughout the 19th century by French travelers and artists seeking Romantic adventure and fortune. A recent exhibition curated by the National Museum of Fine Arts in Havana, and the Museum of Aquitaine in Bordeaux titled “Voyageurs Français à Cuba [French Travelers in Cuba]” exhibited close to 80 popular lithographs by three artists - Hippolyte Garneray, Édouard Laplante,

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466. A New Orleans Coin Silver Ladle, Jean-Noel Delarue (b. France 1776, d. New Orleans 1842), act.

New Orleans c. 1802-1842, marked “De/Larue” script letters in oval flanked by bees in octagonal cartouches, fiddle handle, upcurved end with midrib, bowl with double drop on back at juncture with handle, script monogram on reverse, length 15 in., weight 9.85 troy ozs. $2500/3500 Reference: Crescent City Silver, pp. 66-67, mark illustrated p. 125.

467. A Natchez Coin Silver Small Beaker, Emile Profilet (1801-1868), act.

Natchez c. 18231868, marked “E. PROFILET” in rectangle, seamed construction with decorative molded banding at rim, height 2 1/2 in., weight 2.40 troy ozs. $1000/1500 Reference: Nineteenth Century Natchez-Made Silver, pp. 20-25.

467

468. An Important Louisiana Classical Inlaid Mahogany Stool, c. 18201840, New Orleans, blocked and inlaid rail, turned and reeded legs, brass ball feet, height 18 1/4 in., width 18 3/4 in., depth 18 3/4 in. $7000/10000

468

469. A New Orleans Coin Silver Presentation Cup, Christopf Christian Kuchler, wc. 1852-1870, marked “C.KUCHLER.” in rectangle and “NEW ORLEANS” in rectangle, baluster form with floral and scroll chasing, C-scroll handle, flared foot with applied stiff leaf molding, cartouche engraved “From Mr. and Mrs./ Silverstein/ To Mr. and Mrs./ A. Boehm/ March 26, 1857”, height 4 1/4 in., weight 4.75 troy ozs. $800/1200 Reference: Crescent City Silver, pp. 35-37.

470. A Natchez Coin Silver Ladle, Emile Profilet (18011868), act. Natchez c. 1823-1868, marked “E. PROFILET” in serrated rectangle, flanked by eagles in cartouches, fiddle handle, length 13 7/8 in., weight 6.10 troy ozs.

469

Provenance: Dauphine Street Ursuline Convent, New Orleans; Private collection.

Exhibited: Early Furniture of Louisiana 1750-1830. Louisiana State Museum, New Orleans, February 27-July 31, 1972.

Illustrated: Holden, Jack, et. al. Furnishing Louisiana, Creole and Acadian Furniture, 1735-1835. New Orleans: The Historic New Orleans Collection, 2010, p. 324, fig 61 and Poesch, Jessie. Early Furniture of Louisiana 1750-1830. New Orleans: Louisiana State Museum, 1972, p. 80, fig. 58.

$1500/2500 Reference: Nineteenth Century Natchez-Made Silver, pp. 20-25.

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Note: This sophisticated stool is one of six probably made for the Ursuline Convent Chapel when it was erected c. 1830, and was likely used to seat visiting dignitaries at the chapel. A related Prie-Dieu and a Bishop’s armchair, also part of the Ursuline Convent furnishings, are now conserved by the Catholic Cultural Heritage Center at the Old Ursuline Convent, 1112 Chartres Street, New Orleans.

Reference: Holden, Jack, et. al. Furnishing Louisiana, Creole and Acadian Furniture, 1735-1835. New Orleans: The Historic New Orleans Collection, 2010, p.324, fig 61 and p. 329; Poesch, Jessie. Early Furniture of Louisiana 1750-1830. New Orleans: Louisiana State Museum, 1972, pp. 80-81 figs. 58-60.

471. A Tennessee Coin Silver Tongs, Samuel Bell (1798-1881), Knoxville, wc. 18191852, marked “S.BELL.” in rectangle flanked by spoked wheels, shaped tongs with shell terminals, script monogram, length 6 1/8 in., weight 1.75 troy ozs. $2500/3500 Reference: Caldwell, Benjamin Hubbard, Tennessee Silversmiths, pp.

32-36.

471

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

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474. A New Orleans Coin Silver “Medallion” Cup, Joseph Rafel, New Orleans, act.

1852-1861, marked “J. RAFEL. N.O” in rectangle and “900/1000” in a shield incuse, tapered circular body on applied molded foot, shaped upper rim with applied molded band; “S” scroll handle; oval medallion applied opposite the handle, male wearing Phrygian cap facing left; inscribed “Fleurette Brady Jarvis / from / Eliza Fleurette Jarvis / James T. Brady / Oct. 20th 1866”, height 4 in., weight 3.25 troy ozs. $400/600 472

473

475

475. A New Orleans Coin Silver Fish Slice, James S. Vancourt, New York, NY, c. 1855, ret.

Maurice Scooler, New Orleans; marked with pseudo hallmarks of James Vancourt and “M. SCOOLER” incuse, upturned fiddle typt with curved fins, pierced scimitar blade, flat chased and engraved mountain lake with castle, engraved script monogram on back of upper handle, length 11 5/8 in., weight 3.25 troy ozs. $300/500 476. Three French .840 Silver Soup Spoons, late 19th c., marked “J/VERIN”, upturned fiddle thread pattern, reverse engraved script “SU” horizontally, length 8 3/4 in., weight 8.75 troy ozs.

474

472. A Mobile Coin Silver Water Pitcher, James Conning (18131872), act. Mobile, 1840-1872, marked “J.CONNING” in rectangle and “MOBILE” in rectangle; jug form with vacant C-scroll cartouche and floral repoussé, scroll handle, beaded rims, height 8 3/4 in., weight 23.10 troy ozs.

$600/800 476

Provenance: Collection of a New Orleans Gentleman; one spoon exhibited “A Visible Presence, A Legacy of Service: 275 Years of the Ursulines”, The Historic New Orleans Collection, May 2003.

$2000/3000 477. Two French First Standard Silver Soup Spoons, Paris, 18191838, marked by different makers, upturned fiddle thread pattern, reverse engraved script “SV” horizontally, length 8 1/8 in., weight 4.85 troy ozs.

Reference: Smith, Sidney Adair. Mobile Silversmiths and Jewelers, 1820-1867. Mobile: Historic Preservation Society, 1970-71.

473. A Charleston Coin Silver Creamer, John Mood, 1792-1864, wc. 1816-1864, marked “J.MOOD” in serrated rectangle, urn form with scroll handle, faceted body and die rolled borders, height 7 3/4 in., weight 10.55 troy ozs. $1500/2500 Reference: Burton, E. Milby, Charleston Silversmiths 16901860, pp. 129-132.

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$600/800 477

Provenance: Collection of a New Orleans Gentleman; one spoon exhibited “A Visible Presence, A Legacy of Service: 275 Years of the Ursulines”, The Historic New Orleans Collection, May 2003.

W 478. A

Continental Silver Soup Spoon, marked “N” incised vertically on reverse of stem, upturned fiddle thread pattern, length 8 1/2 in., weight 2.4 troy ozs. $75/125 Provenance: Collection of a New Orleans Gentleman, found en suite with preceding lot.

479. A Louisiana Acadian Walnut Child’s Chair, early 19th c., turned stiles with acorn finials, ladder back with three spurred slats, woven seat, turned legs, incised stretchers, height 28 in.

479 480

$1200/2000 Note: The acorn finials, spurred slats, incised stiles, stretcher configuration, and turned feet on this chair relate closely to those on several wellknown Acadian chairs from the River Road area, including a chair in the Sebastian Louis Kleinpeter Home; a 481 chair sold by Neal Auction Company at Houmas House from the Dr. George Crozat collection; and a hickory chair in the collection of Mr. and Mrs. H. Parrott Bacot exhibited at the Louisiana State Museum in 1972.

Reference: Holden, Jack, et. al. Furnishing Louisiana, Creole and Acadian Furniture, 1735-1835. New Orleans: The Historic New Orleans Collection, 2010, p. 300, fig 19; Neal Auction Company Catalogue, Houmas House Plantation and Gardens May 17, 2003, lot 227; Poesch, Jessie. Early Furniture of Louisiana 1750-1830. New Orleans: Louisiana State Museum, 1972, p. 50, fig. 36.

480. A Louisiana Carved Walnut Campeche Chair, mid-19th c., scrolled foliate crest, shaped arms, turned supports, curule base, turned stretchers, height 39 1/2 in., width 25 in., depth 26 in. $2500/3500

482

482. An American Federal Inlaid Walnut Chest of Drawers, c. 1810, Davidson County, North Carolina, four graduated, scratch molded and inlaid drawers, shaped apron on sides, flared “French” feet, height 42 1/4 in., width 37 1/2 in., depth 18 1/2 in. $2000/3000

481. A Very Good Miniature American Classical Carved Mahogany Sideboard, early 19th c., Pennsylvania, two drawers, turned supports connected to an incurvate shelf, turned feet, poplar secondary wood, height 12 1/4 in., width 11 1/2 in.

Provenance: Robert M. Hicklin Jr., Inc., Southern Decorative and Fine Arts, Spartanburg, SC, 1982 (copy of invoice provided).

Reference: The Swisegood School of Cabinetmaking, ill. pl. 10.

$2500/3500 W denotes the lot is illustrated at www.nealauction.com

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483

486

483. A Louis XV Provincial Carved Walnut Side Table, 18th c., shaped marble top, scroll and foliate frieze, tapered cabriole legs, height 27 1/2 in., width 23 1/2 in., depth 22 1/4 in. $1000/1500 484. A Suite of Six English Carved Oak and Elm Windsor Armchairs, probably mid-19th c., spindled hoop backs, shaped splat, continuous arms, plank saddle seat, turned splayed legs, stretchers.

484

$800/1200 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 485. A Regency Plum Pudding Mahogany Center Table, early 19th c., circular tilt-top, molded frieze, turned standard, reeded saber legs, brass cuff casters, height 29 in., diameter 42 in. $800/1200 486. A Regency Mahogany Sarcophagus-Form Cellarette, 19th c., chamfered corners, gilt bronze lion mask handles, reeded melon-form feet, height 22 in., width 30 1/2 in., depth 22 1/2 in. $1200/1800

485

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487 487. A Pair of Important French Portraits of a Distinguished Couple, 19th c., Jean-Joseph Vaudechamp (French, 1790-1866, active New Orleans, 1831-1839), “Pierre-Louis Hector Crémière (d. 1876)”, 1830, signed and dated lower right, sitter identified on late 19th c. label en verso, 31 3/4 in. x 25 1/2 in.; and Vincent Nicholas Raverat (French, 1801-1865), “Cornélie Alexandrine Athénaïs Surdun (d. 1883), wife of Hector Crémière”, 1829, oil on canvas, signed and dated lower right, sitter identified on later label en verso, 31 3/4 in. x 25 1/2 in., gilt frame, (2 pcs.) $8000/12000 Provenance: With the sitters Pierre-Louis Hector Crémière (c.

1805-c.1875) and his wife Cornélie Alexandrine Athénaïs Surdun (c. 1810-1883), married 1830; to their son Léon Crémière (1831-1913), photographer to Napoleon III, and his wife Joséphine Césarine Baudinot, married 1854; to their son Captain Pierre Henri Crémière (b. 1857), recipient of the Légion of Honor, and his wife Émilie Ursule Marie Marthe Berthelon, married 1880; to their son Captain Pierre René Crémière (b. c.

1884) and his wife Solange Clochon La Touche (b. c. 1886), daughter of post-Impressionist painter Gaston La Touche (18541913), married 1909; thence by descent in the La Touche family; to the Estate sale of Gaston La Touche (1854-1913), Cyril Duval Enchères, La Flèche, France.

Note: In 1829, Vincent Nicolas Raverat, an accomplished Parisian portraitist, painted Cornélie Surdun. Shortly after Hector Crémière married Cornélie in April, 1830, Vaudechamp painted Crémière just before he departed for New Orleans in November of 1831. These stunning portraits record both the history of an illustrious French family (outlined in the provenance) and the rich history of Louisiana portraiture in the mid-19th century.

By the late 1830s, Vaudechamp was the leading portrait painter in New Orleans. His Neo-Classical style paintings, marked by dramatic lighting, fine detail and polished finish, appealed to the burgeoning French Creole class of merchants and plantation owners eager to commemorate their success. The similarities between Vaudechamp’s portrait of Crémière and his famous portrait of “William Charles Clairborne II” (1831) in the Historic New Orleans Collection are striking. Painted within a year of each other, both portraits are in three-quarter profile facing to the left, and the sitters are dressed similarly with high white collars and “Napoleon-style” neckties. As William Keyes Rudolph, the preeminent scholar on Vaudechamp, points out in his book, “Vaudechamp’s sitters—the majority of them French Creoles—were making a clear statement of cultural identity and allegiance by choosing a French artist.”

In 1830, France was rife with revolution. The Bourbon Restoration was overthrown with Charles X’s abdication. As such, there was little market for portraiture in France.

Vaudechamp and Vincent Nicholas Raverat were accomplished young portraitists, who studied under masters at the École des Beaux-arts. While Raverat remained in Paris gaining distinction as a portraitist and history painter in the decade that followed his portrait of Cornélie Surdun, Vaudechamp sought a more lucrative market abroad, earning over $30,000 in the first three winters in New Orleans. His style of portraiture not only helped French Creoles define their status within the new world, but it also laid the foundation for successive French portraitists in the region, such as Jacques Amans, Adolphe Rinck, and François Fleischbein.

Reference: Rudolph, William Keyse. Vaudechamp in New Orleans. New Orleans: THNOC, 2007; Ibid. “Vaudechamp in New Orleans.” THNOC. 2007. www.hnoc. org. Accessed: Oct. 13, 2014 ; E. B. De L. “Nécrologie”. La Chronique des arts et de la curiosité, supplément à la Gazette des Beaux-arts 3 (1865): 254.

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

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489. Attributed to William Pollard (American, 1801-1872), “The Confederate Steamer Enoch Train”, c. 1855-1861, oil on canvas, signed “Pollard” lower left and indistinctly inscribed lower right, titled in full lower center, “N.D. Cotton, Boston” canvas supplier stamp en verso, 22 1/4 in. x 30 1/4 in., framed. $7000/9000

488

489

488. Attributed to François Bernard (French/Louisiana, 1812-c. 1880), “Louisiana Bayou Landscape with Alligator”, oil on canvas, unsigned, 35 1/8 in. x 51 3/4 in., framed. $15000/25000 Note: François Bernard was active in New Orleans from 1856 to 1875. He is primarily known for his portraits of wealthy plantation owners and prominent citizens. During the Civil War, he left the city and spent time in Mandeville where he painted the Louisiana landscape and scenes of local Native Americans. Only a few landscapes by Bernard are documented at present; a large Louisiana landscape from 1866 was sold in these rooms on June 5, 1999 (lot 272). That painting bears strong parallels with the unsigned landscape offered here.

The rendering of the cypress trees and sky, as well as the perspective of the trees and the palmettos in the foreground, are very similar. The reflections of the sky in the water in the foreground bears semblance as well. In the work offered here, a white egret stands at the water’s edge while an alligator suns itself on a nearby log. In the signed painting, sold in 1999, Bernard places two cattle in the foreground near the water. Both works are rare for their size and large scale depiction of the distinctive Louisiana bayou landscape.

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Note: The Enoch Train steamer is an extraordinarily important ship in U.S. Maritime history and in the annals of Louisiana shipbuilding. The steamer, illustrated in the lot offered here, was the first vessel to be converted by the Confederacy into an ironclad warship. Built in 1855 in Boston as a passenger and packet ship, it was seized in the opening months of the war by Confederate privateers and sold in 1861 to John A. Stevenson, a New Orleans commission merchant and secretary of the New Orleans Pilots. Stevenson and fellow merchants raised $100,000 to have the steamer converted into an ironclad that could disarm the Union blockade on the lower Mississippi.

Construction on the Enoch Train commenced in Algiers, LA in May 1861; the ship’s deck was stripped down and fitted with iron plating, and an underwater battle ram, which was affectionately dubbed the “Turtle.”

In September 1861, the Enoch Train was seized by the Confederate Navy and renamed the CSS Manassas after the Confederate victory at Manassas (First Battle of Bull Run). Shortly thereafter, the Manassas, under the command of Flag Officer G.N. Hollins, CSN, led a flotilla of Confederate warships against the Union blockade at the “Head of Passes.”

The ironclad ship proved impervious to enemy shells in the battle. In 1862, the Manassas was run aground after it rammed the USS Brooklyn in the Battle of Forts Jackson and St. Philip, the decisive battle for possession of New Orleans in the Civil War. The Manassas was such a unique marvel of shipbuilding technology that Union Commander David D. Porter attempted to save the vessel for the Union Navy, but the Manassas exploded and sank to bottom of the Mississippi.

William Pollard, a marine painter and restorer, active in Boston from 1854, likely painted this view of the Enoch Train steamer sometime between 1855 and early 1861 before it was seized by Confederate privateers.

References: Hearn, Chester. The Capture of New Orleans, 1862.

Baton Rouge: LSU Press, 1995, p. 67-70; Broadwater, Robert P. Civil War Special Forces: The Elite and Distinct Fighting Units of the Union and Confederate Armies. Santa Barbara: ABC-CLIO LLC, 2014, p. 191-193; Falk, Peter. Who Was Who in American Art. vol. 3. Madison, CT: Soundview Press, 1999, p. 2630.

490. Meyer Straus (American/ California, 1831-1905, active New Orleans 1869-1872), “Louisiana Bayou at Sunset”, oil on canvas, signed lower right, 10 3/4 in. x 5 1/8 in., period frame. $4000/6000 491. Meyer Straus (American/ California, 1831-1905, active New Orleans, 1869-1872), “Sunday Morning”, oil on board, signed lower left, titled en verso, 13 1/2 in. x 11 in., antique frame with brass artist plaque. $4000/6000 Note: While Sunday Morning depicts a scene that is truly inspired by the South, it is likely that such a landscape may not be found in nature. Born in Germany, Meyer Straus immigrated to the United States in 1848 and moved from Ohio to St. Louis, to Mobile, to New Orleans, and to Chicago before finally settling in San Francisco. Throughout his travels, he established himself as an accomplished and prolific scenic artist for area theaters. While in Louisiana, he seems to have been captivated by the bayous and landscape and painted masterful oils such as Louisiana Bayou at Sunset offered here.

Sunday Morning is reminiscent of the kinds of theatrical backdrops that Straus must have painted.

The foreground is strongly separated from the background through the use of perspective, with a small church in the distance. Large trees lining the roadway frame the figures and draw the viewer, or stage actors, into the scene.

491

490

Reference: Sartisky, Michael, and J. Richard Gruber, et al., eds. A Unique Slant of Light: The Bicentennial History of Art in Louisiana. Jackson, MS: University Press of Mississippi, 2012.

492

492. [Antique French/American Political Cartoon], “The debilitated situation of a monarchial Government...The flourishing condition of a well-formed industrious Republic”, c. 1836, hand-colored lithograph, anonymous, depicting Louis Philippe and Andrew Jackson facing off over France’s debt to the US because of the Napoleonic Wars, 16 in. x 17 1/2 in., framed.

493

$600/900

493. A Tennessee Coin Silver Agricultural Premium Julep Cup, Bailey & Kitchen, Philadelphia, wc. 1832-1848, marked “BAILEY & KITCHEN” in rectangle and with pseudo marks, engraved “Premium awarded/ by the/ Tennessee Agricultural/ and/ Horticultural Society”, reverse engraved “Walter Josephus Guild”, tapered form with seamed construction and reeded borders, height 3 3/4 in., weight 4.70 troy ozs. $1000/2000 Note: Walter Josephus Guild was the son of Judge Josephus Conn Guild of Rose Mont Plantation, Gallatin, TN. 494. A Kentucky Coin Silver Soup Ladle, Asa Blanchard, Lexington, wc. 1808-1838, marked “A.BLANCHARD” in rectangle and with double struck eagles, fiddle handle, length 15 in., weight 6.70 troy ozs. $3500/4500 Reference: Boultinghouse, Marquis. Silversmiths of Kentucky, 1785-1900, pp.

69-77, mark illustrated p. 299, fig. 29D.

494 494 (detail marks) W denotes the lot is illustrated at www.nealauction.com

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496. A South Central Agricultural Society Coin Silver Premium Cup, Edmund J. Johnston, Macon, GA, wc. 1850, marked “E.J.JOHNSTON/MACON.GA.”, cartouche engraved “S.C.A.S./For the best & largest/ Collection of Fowls”, baluster shape with molded foot, beaded borders, scroll handle and chased seal and foliage , height 3 1/8 in., weight 1.55 troy ozs. $3500/4500 Note: The South Central Agricultural Society was organized in 1846 to present an agricultural fair that would appeal to Georgia farmers as well as those in adjacent states. After being held in Stone Mountain and Atlanta, it was moved to Macon in 1851.

The name was changed to the State Agricultural Society of Georgia. The fair continues today as the Georgia State Fair, still held in Macon.

495

Reference: Cutten, George Barton. Silversmiths of Georgia, pp. 58-59.

496

499

497. A Missouri Coin Silver Julep Cup, Louis Jaccard & Co., St. Louis, act. 18371848, marked “JACCARD & CO.”, “ST LOUIS” AND “COIN”; seamed construction with applied molded rims, engraved in script “C.C.A. & M.A.”, height 3 3/8 in., weight 2.90 troy ozs. $600/900 Reference: Mack, Norman. Missouri’s Silver Age: Silversmiths of the 1880s. pp. 84-94.

498. A Charleston Coin Silver BarrelShaped Cup, Nathaniel Vernon (17771843), wc. 1808-1835, marked “N.VERNON” in rectangle, height 3 1/2 in., weight 4.60 troy ozs. $1200/1800 Reference: Burton, E. Milby. South Carolina Silversmiths, 16901860, pp. 187-189.

497

498

495. A Kentucky Coin Silver Soup Ladle, Samuel Ayres and Noah Haydon, Lexington, act. 1811-1813, marked “AYRES&HAYDON” in rectangle, coffin shaped handle, length 14 1/8 in., weight 5.30 troy ozs. $2000/3000 Reference: Boultinghouse, Marquis. Silversmiths of Kentucky, 1785-1900, p. 43, marked illustrated p. 297, fig. 9.

499. A Regency Tooled Gilt Green Leather Nécessaire, early 19th c., doors with mirrored interior enclosing cedar drawers with fitted writing and jewelry compartments, top drawer with silver and glass grooming set, top with hinged keyhole compartment, blocked feet, side carrying handles, height 16 1/2 in., width 15 1/2 in., depth 10 in. $1000/1500

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501

500

500. An English Chinoiserie Gilt Decorated Black Lacquer Tea Caddy, 19th c., decorated with domestic scenes and scrolling dragons, brass handles, removable incised metalwork compartment with lid, height 8 in., width 13 1/2 in., depth 10 1/2 in. $700/900 501. An English Carved Wood Fish-Form Trade Sign, 19th c., with “166 Piccadilly, London” paper label on reverse, height 9 in., width 42 in.

503

$700/900 Provenance: Estate of Veronese Atkins, Southern Pines, NC. 502. Charles Wellington Boyle (American/Louisiana, 1861-1925), Artist’s Sketchbook, 1888-1889, pencil, charcoal and Conté crayon on paper, thirty-two sketches, most titled and dated lower edge, sketchbook signed in ink on front and back covers, overall 7 1/2 in. x 10 7/8 in. $2000/3000 Provenance: Discovered in a Mandeville, LA Estate.

Note: Charles Wellington Boyle was raised in Lewisburg, LA on the north shore of Lake Pontchartrain. He was active in New Orleans art circles from 1883 as a painter, art teacher, restorer, and curator until his death in New Orleans in 1925. His work often prominently featured moss-laden live oak trees within a Louisiana landscape and scenes of New Orleans. He was a founder of the Southern Art Union in 1880 and the Artists’ Association of New Orleans in 1885, where he taught classes for many years. Boyle also served as the first curator of the Delgado Museum of Art (later New Orleans Museum of Art) from 1911-1922 and then as the second director until his death.

This sketchbook represents a unique and historic glimpse into Boyle’s artistic process and the late 19th century Louisiana landscape. Thirty-two very rare sketches, dating from 1888-1889, capture outdoor scenes including: Metairie Ridge, Lewisburg, Mandeville, Ponchatoula, Versailles, the Carrollton levee, and Audubon Park. Additional sketches depict figural studies and animals.

In July of 1889, Boyle visited Beauvoir, home of Jefferson Davis. Included in this sketchbook are Boyle’s sketches of the creek, nearby landscape and Beauvoir Station, the unofficial railroad stop approximately a half-mile behind the home that served visitors to Davis.

Boyle continued his interest in sketching throughout his life and hosted at his Mandeville estate a “Sketch Club” formed around 1900 by a group of Louisiana artists including Ellsworth and William Woodward, John Pemberton, Robert Mayfield, A.J. Drysdale, Andres Molinary, and Patrick Westfeldt.

Reference: Bonner, Judith H. “Artists’ Association of New Orleans.” KnowLA Encyclopedia of Louisiana. Jan. 3, 2011. www. knowla.org. Accessed October 15, 2014; Crist, Lynda Lasswell. “Beauvoir.” Mississippi History Now: An Online Publication of the Mississippi Historical Society. June, 2007. www.mshistorynow.mdah.state.ms.us. Accessed October 15, 2014; Schmidt, Patricia B., ed., Encyclopedia of New Orleans Artists, 1718-1918. New Orleans: The Historic New Orleans Collection, 1987, p.

50;Wiesendanger, Martin and Margaret. 19th Century Louisiana Paintings from the Collection of W.E. Groves Gretna, LA: Pelican Publishing Company, 1971.

502

503. Charles Wellington Boyle (American/ Louisiana, 1861-1925), “Live Oak with Farm around the Bend, Southern Louisiana”, oil on canvas board, signed and inscribed “sketch” lower right, 16 1/2 in. x 16 in., framed. $3000/5000

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504

506

505

504. Charles Wellington Boyle (American/ Louisiana, 1861-1925), “Spanish Moss-Draped Live Oak Trees, River Batture”, oil on canvas, signed lower left, remnant of typewritten artist label en verso, 9 in. x 13 3/4 in., framed. $2500/3500

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505. William Henry Buck (Norwegian/New Orleans, 1840-1888, active New Orleans, 1869-1888), “Settlement along a Louisiana Bayou”, 1878, oil on canvas, signed and dated lower right, 11 7/8 in. x 24 in., period giltwood frame. $125000/175000 Provenance: Estate of Harry T. Howard III, New Orleans, LA. Note: William Henry Buck created the most expansive known body of work depicting the Louisiana landscape in the 19th century. There is a certain masterful quality to some of his paintings: their exquisite and subtle luminosity, the effects of light and shadow, and the fine detail of the place and landscape. The work offered here embodies these characteristics. An accomplished depiction of a Louisiana bayou, the composition is dominated by a live oak tree - a hallmark of a Buck landscape. In this painting, however, the sky is given special attention with its shades of cerulean blue and scattered clouds.

Buck uses exquisite and fine detail and brushwork throughout the composition, and is especially successful with his depiction of the settlement on the horizon line. A review of Buck’s oeuvre certainly suggests that the years 1877 to 1880 were when he was at his most skillful; the work offered here dates to 1878.

506. American School, 19th c., “Ship Constitution, Capt. Peabody of Boston, off South Point N. Orleans”, c. 1841, ink wash with white highlights on paper, titled in ink in lower margin, 14 1/4 in. x 21 in., framed. $2500/3500

507. Henri De Lattre (French, 18011867, active America, 1850-1855), “Prized Thoroughbreds and Cattle within an Extensive American Landscape”, 1854, oil on canvas, signed and dated lower right, 31 1/4 in. x 48 3/8 in., attractively framed. $20000/30000 Provenance: A Southern private collection.

508. Achille Peretti (Italian/New Orleans, 1857-1923, active New Orleans, 1884-1923), “Louisiana Eastern Wild Turkeys (Tom and Jake)”, oil on canvas, signed upper left, 35 in. x 22 in., period frame. $6000/9000 Provenance: Descended in the family of Judge Havney Felix Brunot (New Orleans, 1860-1944).

Note: This canvas is an important example of the abiding tradition of Louisiana naturalism, notably started by John James Audubon (1785-1851) in the 1820s. The Tom and Jake depicted here in their natural piney woods habitat combine an interest in ornithology and hunting, as do other important contemporary works from the region: most notably the photogravures in Edward Avery McIlhenny’s seminal book The Wild Turkey and Its Hunting (1st edition, 1912) and George Louis Viavant’s watercolor and gouache tour-de-force “Roost (View of a Wild Turkey Walking through a Pine Forest),” c. 1900-1925, now conserved at the Historic New Orleans Collection (acc.

2010.0333).

507

The wild turkey population in Louisiana before 1880 was estimated to be as high as one million birds. Around 1900, and coinciding with the creation of the painting offered here, the state’s turkey population started a precipitous decline due to exploitation of forests, subsistence hunting, market hunting, and unregulated sport hunting. By 1946, Louisiana’s turkey population was estimated to be only 1,463 in 14 isolated flocks, 508 resulting in a restoration program in 1962 that consisted of trapping and releasing the wild birds into more suitable habitats. Since that time, the state’s wild turkey population has rebounded to an estimated 80,000 birds.

509

509. George Louis Viavant (American/New Orleans, 1872-1925), “Nature Morte: Squirrel”, 1920, watercolor on paper, signed and dated lower left, 17 in. x 24 3/4 in., framed. $2500/5000

Sources: Pennington, Estill Curtis. Downriver: Currents of Style in Louisiana Painting 1800-1950. Gretna: Pelican Publishing Company, 1991, pp.

141-145; “Turkey”, Department of Wildlife and Fisheries for the State of Louisiana. www.wlf.louisiana.gov. Accessed “October 20, 2014.

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512. August Norieri (American/New Orleans, 1860-1898), “Louisiana Landscape with Cabin, Barn, Cattle and Fisherman”, oil on canvas, signed and inscribed “after Buck” lower right, museum exhibition label en verso, 15 in. x 28 1/4 in., framed. $15000/25000 Provenance: Succession of collector Joseph Perry (Covington, LA, 1924-2014).

511

511. Alexander John Drysdale (American/New Orleans, 1870-1934), “Storm, Live Oak”, 1917, oil wash on academy board, signed and dated lower right, label en verso, sight 17 1/2 in. x 23 1/2 in., framed.

510

510. George Louis Viavant (American/New Orleans, 18721925), “Nature Morte: Snipe”, 1920, watercolor on paper, signed and dated lower left, 21 1/8 in. x 13 3/4 in., framed. $2000/4000

$3000/5000

Exhibited: “August Norieri (1860-1998)”, organized by the Friends of the Cabildo and Louisiana State Museum, September 21 - October 18, 1970, no. 31, p. 25.

Note: Born in New Orleans in 1860 to an Italian family, August Norieri studied with the well-known painter Andres Molinary (1847-1915) from 1880-1881, before opening his own studio in New Orleans in 1884. His work garnered little attention during his brief lifetime, although he did exhibit work at the National Academy of Design in New York City in 1885, the American Exposition from 1885-1886, and the Artists’ Association of New Orleans from 18861887.

Through the Artists’ Association and his connection with Molinary, Norieri would have been familiar, and most likely friends, with 512 many of the major Louisiana artists of the day, such as William Buck (1840-1888). In the painting offered here, Norieri breaks from his favored maritime and Mississippi river subjects, such as sailboats, paddlewheelers, bayous and lakes, to paint a composition remarkably similar to those of Buck. In fact, prior to conservation in the 1960s, this painting was mistaken for that of Buck due to the large tree in the center, which so often appears in Buck’s paintings, and a partially obscured signature. When it was cleaned, the full original inscription was uncovered and read, “After Buck, my friend, A. Norieri.” (“my friend” has since been obscured by later restoration but is documented in articles and research associated with the Friends of the Cabildo and Louisiana State Museum exhibition of 1970). Thus, this painting is interpreted as an interesting and historical example of an amusing interaction between two important 19th c. Louisiana artists.

References: Dobie. Ann. “August Norieri.” KnowLA Encyclopedia of Louisiana. Sep. 12, 2012. www.knowla.org. Accessed October 20, 2014.

Wiesendanger, Martin and Margaret. 19th Century Louisiana Paintings from the Collection of W.E. Groves Gretna, LA: Pelican Publishing Company, 1971, pp. 790-791.

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513. Southern School, early 20th c., “Log-Boat at a Sawmill Landing (probably Florida)”, c. 1900, oil on canvas, unsigned, 29 3/4 in. x 48 1/2 in., period frame. $12000/18000 Note: In the opening pages of Reflections: Paintings of Florida, 1865-1965, the exhibition catalogue from the Collection of Cici and Hyatt Brown (the largest known private collection of Florida-based art), curator Gary Libby writes that finding “icons of Florida in a work of art… can be as abundantly present as leaping porpoises in photo postcards.” Libby further elaborates that the success to finding “Floridaness” is a discerning eye not only for composition and lighting, but also for the flora, fauna, and architecture.

The painting offered here possesses all the signs indicative of a Florida scene. The warm hue of the golden roofs and lumber are offset by the white pale blue sky reflected in the water below, and the low flat horizon is broken only by the verticality of the long thin trees. The tree canopies, made of dark green clusteredlike needles, resemble Longleaf and Loblolly pines- the staple of Florida’s logging and turpentine industry at the turn of the 20th century; and the sawmill setting, in which these trees are found, is all the more indicative of their species. The dense foliage accented by Sabal palmettos further suggests Florida, as do the Ringnecked Diving Ducks that populate the water. The most common migratory species of ducks to Florida fresh waters, the Ring-neck has distinctive markings: black head and back, two-toned wings with white undersides and breast.

Perhaps the most salient Florida detail in this painting is the cross-cultural influence of Seminole Indian architecture in the high-pitched thatched roofs on the log cabin and building on the viewer’s far left. As the Seminole were forced from northern Florida by American Expansion, they adopted a highly efficient home (Chickee), made of a palmetto thatched roof over a cypress or pine log frame. A few beams of wood were then laid vertically over the thatching and crossed at the roof’s peak. Not only could the Chickee be easily constructed, but its roof also had excellent ventilation and could withstand the elements for years.

New settlers to Florida, itinerant travelers, and runaway slaves often applied elements of this native architecture, which other prominent Florida painters have documented. Herman Herzog’s “Fishing Camp on the Lower Waccasassa River,” c.

1832, depicts a Seminole-style lean-to, and Edwin Lord Weeks’ famous “Everglades of Florida,” 1872, records a couple of Maroons (Black Seminole) beside their Chickee.

Numerous photographs of the timber industry from the State of Florida Archives further support the reading of this painting as a Florida scene. Between 18801910, logging and saw mills flourished throughout central Florida along the St. John’s and Ocklawaha rivers or on the watersheds between them that were connected by short-line railways. While major mills existed, a plethora of small ones populated the waterfronts, too. Photographs of these mills share the landscape, flora, fauna and architecture in the painting offered here. Similar scenery is found as well in Frank Shapleigh’s pictures of the Ocklawaha river, including an 1888 painting of a timber raft.

Tourism was also concomitant with the lumber boom in central Florida. By 1900, Silver Springs on the Ocklawaha river in Ocala was a major destination that rivaled St. Augustine. Many of the Florida artists in the Brown Collection, such as Milton Lowell, also visited Silver Springs and painted its environs (“Evening on the Ockwahala River,” c. 1900). There may not be a “leaping porpoise” in this “LogBoat at a Sawmill Landing”, but the analogy is poignantly accurate; this picturesque view bears significant historical and visual evidence to one of America’s last frontiers- Florida.

References: Libby, Gary Russell. Reflections: Paintings of Florida, 1865-1965, from the Collection of Cici and Wyatt Brown. Daytona: Museum of Arts and Sciences, 2009; “Ring-necked Duck.” National Audubon Society of Birds. birds.audubon.org. Accessed Oct. 4, 2014; Weslager, C.A. The Log Cabin in America. New Brunswick: Rutgers UP, 1969; Mulroy, Kevin. Seminole Freedmen: A History. Norman: University of Oklahoma Press, 2007; @State of Florida Photographic Archives. Florida Memory, Division of Library and Information Services. http://floridamemory.com. Accessed Oct. 15, 2014 ; Beccera, Cesar.

“Giants of the South, the Story of South Florida’s Logging Industry.” South Florida History Magazine 22:1 (1994): 16-25; Hensley Jr., Donald R. “The Rise and Fall of the Florida Railway”. Florida Railway, Part Three, 2003. www.taplines.net. Accessed Oct. 22, 2014.

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515

514. Alexander John Drysdale (American/New Orleans, 18701934), “Moon and Live Oak Tree, Louisiana Bayou”, 1914, oil on academy board, signed and dated lower right, “F.W. Devoe & Co., Academy Board” label en verso, 18 1/2 in. x 24 1/2 in., period frame. $4000/6000

515. A Rare American Gilt and Patinated Bronze Miniature Sinumbra Lamp, mid-19th c., attributed to William Carleton, Boston, columnar standard, stepped foot on square plinth, hand-blown frosted globe and chimney, height 17 in., diameter 6 in. $1500/2000 Provenance: Private Collection, New Orleans, LA.

516

Note: The standard, tin donut-shaped font fitted for a 5 3/8 diameter shade is indicitive of the Boston manufacturer William Carleton. A diminutive sinumbra lamp of identical dimensions and form to the one offered here is illustrated in Gerald Gowitt, 19th Century Elegant Lighting: Argand, Sinumbra and Solar Lamps. Atglen, PA: Schiffer and Publishing, 2002, p. 174.

516. A Fine American Federal Carved Mahogany Bowfront Chest of Drawers, late 18th/early 19th c., Salem or Boston, molded top above four graduated drawers, shaped base, molding, flared “French” feet, height 35 1/2 in., width 42 in., depth 23 1/2 in. $2500/3500 517. A Very Fine American Classical Carved Mahogany Games Table, early 19th c., Boston, brass stringing, distinctively carved acanthus support, quadripartite saber reeded supports, brass casters, height 30 in., width 37 in., depth 18 1/2 in. $1500/2500

517

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517A

517A. John L. Boqueta de Woiseri (active America, 17971815), “A View of New Orleans taken from the Plantation of Marigny”, 1803, colored aquatint with engraving, showing saw mills, the Place des Armes, St. Louis Cathedral, three newly hoisted American flags, with an eagle holding a banner with the motto “Under My Wings Every Thing Prospers” above, sheet 13 in. x 22 3/4 in., framed. Note: Mounted on heavy stock, includes fiber identification and dating analysis. $1500/2500 Note: In 1803, John L. Boqueta de Woiseri, a portrait artist by trade who developed his talents as an engineer and designer, produced this bird’s eye view of the city of New Orleans. The etching was a companion to a map produced by Boqueta de Woiseri, most likely under the guidance of Pierre Clement Laussat, the prefect of Louisiana who resided at the Marigny plantation. Boqueta de Woiseri’s etching is unique as it was the only view at the time to depict the city’s most important buildings; the Cabildo, the Presbytere, and St. Louis Cathedral. In addition, the etching celebrates the purchase of New Orleans and the Louisiana territory by the United States, symbolically portrayed by the eagle clutching a sixteen star-spangled banner.

Reference: The Historic New Orleans Collection, Charting Louisiana: Five Hundred Years of Maps, 2003.

The Historic New Orleans Collection Printmaking in New Orleans, 2006.

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518. A Rare Monumental English Bronze-Mounted Glass Hall Lantern, c.

1800, hand blown glass shade with folded rim, Greek key decorated band, single light candle terminal, original smoke bell and chain, height 29 in., width 12 in. $1500/2500

518

Provenance: David Stockwell, noted antiquarian, purchased London in 1945; thence to current owner.

520

519. A Regency Gilt and Patinated Bronze Hanging Argand Lamp in the “Antique Roman” Style, early 19th c., sea serpents handles, original surface, burner intact, double pronged on/off valve, height 26 in., width 10 1/2 in., depth 11 in. $4000/6000 Note: The double pronged on/off valve present in this lot is an unusual variation enabling ease in access to illuminate or extinguish lamp.

520. An English Silverplate Sinumbra Lamp, mid-19th c., gadrooned font border, columnar standard, etched and frosted shade, height 26 in. $1500/2500 Provenance: Private Collection, New Orleans, LA. 521. A Very Rare English or French Gilt Brass Figural Chandelier Chain, 19th c., in the form of a pointing hand grasping a ring, rectangular links, height 20 1/4 in. $700/1000

519

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522. A Very Fine American Classical Carved Mahogany Tester Bed, 19th c., probably Louisiana, tester with canted cornice on pineapple, rope and acanthus carved posts; paneled rails, distinctive reeded legs, brass ball feet, height 122 in., length 82 in., width 62 in. $20000/30000 Provenance: Collection of the distinguished early Louisiana collector Dr. George Crozat; sold Neal Auction Company, Houmas House auction, May 2003, as lot 483.

Note: This sophisticated tester bed, with finely carved posts and brass ball feet is the quintessential example amongst a number of high style classical examples to be found in great houses of the lower Mississippi River valley, including beds documented at Hermitage Plantation, (Darrow, Louisiana) and Bocage Plantation (Darrow, Louisiana).

Two related beds were sold in these rooms as lot 403, June 27, 2009 and lot 206, November 20, 2010.

The headboard recalls that on a rare miniature tester bed in the noted collection of Mr. and Mrs. Robert Patrick, New Orleans.

Reference: Poesch, Jessie. “Furniture of the River Road Plantations in Louisiana.” Magazine Antiques. June, 1977: 1193, 16; Neal Auction Company Catalogue, Bocage Plantation, River Road, Darrow, Louisiana. December 8, 2007, lot 163; Holden, Jack, et. al. Furnishing Louisiana, Creole and Acadian Furniture, 1735-1835. New Orleans: The Historic New Orleans Collection, 2010, p. 397.

522

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523. After Marie Adrien Persac (American/Louisiana, 1827-1873), “City of Baton Rouge, the Capitol of Louisiana”, 1855, surveyed and published by Michael Gill, engraved and printed by J.H. Colton, New York, with a vignette of the city “from the opposite side of the river”, public and private buildings labeled, a reference indicating the towns of “Spanish”, “Grass”, “Devall”, “Leonard”, “Industry” and “Beauregeard” as well as “Suburb Grassie”, “Hickey, Duncan & Mather”, Philip Hickey’s property” and Magnolia Ville”; a business directory showing twenty-five business names and addresses, foliate border, 34 1/2 in. x 39 3/4 in., burl-walnut frame. $20000/30000 Illustrated: Bacot, H. Parrot, Barbara SoRelle Bacot, et al. Marie Adrien Persac: Louisiana Artist. Baton Rouge: LSU Press, 2000, p. 47.

Note: According to H. Parrott Bacot in Marie Adrien Persac: Louisiana Artist, “at present only two of these maps are known to have survived.”

The map offered here appears to be the third known example. Bacot also states that “the vignette of Baton Rouge in the lower left quadrant is indeed the image done by Adrien Persac, therefore dating his original art work to 1855. As Persac was a cartographer living in Baton Rouge at the time, and Gill was a New York publisher, one is inclined to think that both vignette and map are Persac’s work.”

Reference: Bacot, H. Parrot, Barbara SoRelle Bacot, et al. Marie Adrien Persac: Louisiana Artist.

Baton Rouge: LSU Press, 2000, p. 46.

523

524. An Important American Gothic Walnut Bookcase, mid-19th c., attributed to Crawford Riddell’s Journeyman Cabinet Makers, Philadelphia, crenellated crest, frieze bearing in applied letters the subject inscriptions of “Poetry, Religion, Metaphysics, Oratory, Drama and Music”, glazed doors with muntins surmounted by pointed arches with trefoils, four adjustable shelves, plinth base, height 82 in., width 43 in., depth 15 1/2 in.

Provenance: Acquired from Antiquarian Joseph Sorger (1919-2008), Philadelphia, 2005.

Note: In the 1840s, the Philadelphia cabinet warerooms of Crawford Riddell supplied a number of pieces of Gothic Revival furniture for the parlor and library of Phil-Ellena, a large-scale Greek Revival villa built in 1842-1844 in Germantown, which is now part of the city of Philadelphia. Furniture made for the library included a set of walnut bookcases distinguished by crenellated crests, glazed doors with muntins surmounted by pointed arches enclosing trefoils, and friezes inscribed in raised letters with the names of subjects typically represented by books in a scholarly library of the nineteenth century. The bookcases are visible in a photograph of the library dating from c.1887.

Crawford Riddell became active as a cabinetmaker in 1835. From 1837 to 1844, he operated the Journeyman Cabinet Makers’ Warerooms, located at 48 South Fifth Street, below Walnut Street, in Philadelphia. According to an advertisement in the Philadelphia city directory for 1839, Riddell’s warehouse carried “the largest assortment of Furniture of the latest and most approved designs to be found in any establishment in the United States…all manufactured by the best Journeyman in the trade.” His most famous commission was a suite of Gothic Revival rosewood bedroom furniture made in 1844 for the use of Whig presidential candidate Henry Clay in the president’s bedchamber of the White House.

The bookcase offered in the current lot bears a number of similarities to the bookcases that once stood in the library of Phil-Ellena, suggesting that it was sold in the warerooms of Crawford Riddell. The proportions of this bookcase are different from those made for Phil-Ellena, but share many of the same features, including the crenellated crest, configuration of muntins, pointed arches with trefoils, and raised letters in the frieze spelling the names of subject areas including literature, religion, science, and the arts.

524

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References: Richard Trent, “Vaulting Ambition: Philadelphia Gothic Revival Furniture and Other Decorative Arts, 1830-1860” (Philadelphia, 2005), pp. 100-101 and 115-117; Sheryl Farber Mikelberg, “A Decorative Analysis of Phi-Ellena, a Greek Revival Philadelphia Mansion,” master’s thesis written for the Graduate Program in Historic Preservation, University of Pennsylvania (January 1992), pp. 60 and 111-112.

527. An American Federal Satinwood Inlaid Mahogany Bowfront Chest of Drawers, c.

1800, probably Salem, MA, top with turreted corners above four drawers flanked by reeded columnar stiles, shaped base, turned legs, old inscription visible on backboards, height 39 1/2 in., width 40 1/2 in., depth 19 in.

525

$1500/2500

526

527

525. A Fine Regency Carved Mahogany Extension Dining Table, mid-19th c., probably Jamaican, molded top opening to receive three leaves, paneled skirt, massive turned, tapered and reeded legs, melon feet, casters, height 30 in., length 57 in., width 55 in.

526. An American Classical Gilt Bronze-Mounted and Brass Inlaid Mahogany and Burl Ash Pier Table, early 19th c., Philadelphia, rectangular marble top over conforming frieze applied with bronze wreath centering anthemion; columnar supports, anthemion cast capitals and bases, mirror plate flanked by pilasters inlaid with bands, incurvate plinth, acanthus carved and turned feet, height 37 1/2 in., width 50 in., depth 23 1/4 in.

$8000/12000

$3000/5000

Note: The massive distinctively turned legs and innovative extension mechanism on this table can be found on other documented dining tables in Jamaican great houses. The design of these Colonial tables derives from high style English examples, most notably an “Imperial Telescopic” table in an 1849 illustration from Ferguson & Co., successor to the Gillows firm of Lancaster and London.

Note: The current lot stands among the most expensive and sophisticated types of pier tables made in New York City and Philadelphia during the late Federal years. Pier tables documented to prominent New York City cabinetmakers, such as Charles-Honoré Lannuier and Duncan Phyfe, and to important Philadelphia craftsmen, including Joseph Barry and Anthony Quervelle, feature expensive embellishments in the form of finely cast and chased gilt-bronze mounts and brass inlay. Both Lannuier and Barry are known to have used light-colored figured woods such as burled elm or amboyna in combination with darker mahogany or rosewood. The gilt-bronze anthemia-cast capitals and bases on the current lot are similar to those found on pier tables by Philadelphia and New York City cabinetmakers.

Reference: Connors, Michael. Caribbean Elegance. New York: Abrams, 2002, p. 112.

Ibid. British West Indies Style. New York: Rizzoli, 2010, p. 129; Stuart, Susan. Gillows of Lancaster and London. New York and Suffolk: Antique Collector’s Club, 2008, pl.

244.

References: Peter M. Kenny, “Honoré Lannuier: Cabinetmaker from Paris” (New York, 1998), pp. 55, 92 and 93; Allison Boor et al. “Philadelphia Empire Furniture” (West Chester, PA, 2006), pp. 229, 230 and 233.

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528. A Distinctive American Federal Mahogany Shaving Mirror, c. 1810, probably Thomas Seymour, Boston, rectangular mirror, canted supports, shaped case with bowfront drawers, turned feet , height 20 1/2 in., width 20 3/8 in., depth 10 1/4 in. $1500/2500

528

530

Provenance: Inkinscribed on interior of bottom drawer: “1. This Toilet Stand owned first by by [sic] Abro . Gardner of Medford in 1798/ 2. Then by her daughter Martha Gardner Morse/ 3. Owned in 1891 by her daughter Agnes Morse Scritter (illegible)/ 4. In 1894 given to her eldest niece Edith Mable Morse of the 4th generation”.

529. An American Classical Carved and Inlaid Mahogany Sofa, c. 1830, New York, paneled and scrolled crest rail, scrolled arms, paneled seat rail, cornucopia bracketed paw feet, casters, height 38 1/2 in., width 87 in., depth 24 in. $1200/1800 530. A Fine American Classical Carved Mahogany Library Table, early 19th c., probably New York, marble top with chamfered corners, paneled frieze with blind drawer, acanthus-carved scroll supports, lotus-carved stretcher, scrolled legs, casters, height 28 1/2 in., width 42 1/2 in., depth 24 in. $2500/3500 Note: Tables with supports in the form of a lyre or with outlines suggestive of a lyre were produced in both Philadelphia and New York City during the late Federal years. The table in the current lot is most likely New York in origin, the secondary woods are ash and poplar. The base bears similarity to a labeled sofa table by John and Joseph W. Meeks that sold in these rooms as lot 295 on January 30, 2010.

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531. An American Federal Carved Mahogany Work Table, early 19th c., Boston, probably Thomas Seymour, the top with turreted corners, two drawers and work bag, on ring-turned, tapered reeded legs, brass ferules, casters, height 29 1/2 in., width 20 7/8 in., depth 16 7/8 in. $1500/2500 Note: This table was made to be a versatile piece of furniture for the parlor, with each of the two drawers having small storage compartments for writing instruments, paper, ink, and other daily necessities, and a pull out slide for a work bag in which to store needlework underneath the drawers. The table is finished on all sides and has casters on the bottom of the legs so that it could be easily moved around a room and pulled up to a chair as an aid for small domestic chores of the day.

The rich crotch-mahogany veneers of the case, the elegant stamped brass knobs and the elaborate ring-turned leg posts above deeply reeded legs were synonymous with the late Federal period in Boston and would have been the height of fashion c. 1810 when ordered from a distinctive workshop.

531

532

532. A Charles X Gilt Bronze and Cut Crystal Mantel Clock, c. 1825, lyre-form, centered by a wreath with sun-mask, flanked by swan terms, silk-thread, striking bell movement, on paw feet, height 20 1/2 in., width 7 1/2 in., depth 4 1/2 in., accompanied by the 1895 sales receipt noting Bonaparte-Robb provenance.

534

$800/1200 Note: In 1815 following the fall of the French Empire, Napoleon’s brother, Joseph Bonaparte, the former King of Spain and Naples, fled to America where he settled in an estate called Point Breeze in Bordentown, NJ on the Delaware River.

After Joseph Bonaparte’s death in 1844, his collection was sold at public auction. James Robb, an art connoisseur, noted entrepreneur, and first president of the New Orleans Gas Light and Banking Company purchased this clock, lot 532, at the auction and installed it in his mansion on Washington Avenue. Following the financial crisis of 1857, Robb was forced to sell his residence and a large portion of his collection, including the Joseph Bonaparte clock. The Armand Hawkins Company of New Orleans, often referred to as “The Oldest Antique House in the South” acquired the clock, which remained with the firm until its 1895 sale to Miss Hymes.

References: Berry, Coleen. “Digging Up the Home of That Other Bonaparte, in New Jersey.” The New York Times, Oct. 25, 2008. www.nytimes.com.

Accessed Oct. 28, 2014. Historic New Orleans Collection. The James Robb Collection, 1821-1872. Accession: 85-68-L. Armand Hawkins Co. Antiques; the Oldest Art Antique House in the South New Orleans, LA.

W 533. A Pair of Fine Regency Anglo-Irish Cut Crystal Decanters, c. 1820,

fluted and diapered pattern, height 9 1/2 in. $500/750 534. A Pair of Regency Bronzed Plaster Figural Torchères, 1809, J. Deville, London, modeled as a standing Bacchus and Bacchante in Classical gowns, inscribed “London published/ April 10, 1809/ by John Deville”, glass shades, height 45 1/8 in., width 13 in. $5000/7000 Note: These rare plaster torchères, bronzed in the Roman manner, exemplify Regency period lighting inspired by Thomas Hope’s Roman Empire/Egyptian-style interiors of the Duchess Street mansion (1800) in London. These sculptural lamps were made throughout the early 19th century by the firms of Humphrey Hopper, Robert Shout, Francis Hardenberg, and most notably James Deville (1777-1846). The extraordinary modeling of the anatomy on the torchères offered here set Deville’s works apart from his contemporaries. As a master statuary/plaster of Paris sculptor, turned lamp manufacturer after 1805, Deville went on to become one of England’s most prominent phrenologists. He not only founded the London Phrenological Society in 1823, but Deville was also the primary supplier and maker of phrenological casts in England and France before 1840.

References: Christies, London, Sale 6564 (May, 2002), Lot 428; “James De ville, British Bronze Sculpture Founders and Plaster Figure Makers, 1800-1980”. 2011. National Portrait Gallery www.npg.org.uk. Accessed: Oct. 28, 2014.

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536

535. A Pair of Neoclassical Sienna Faux Marbre Pedestals, 19th c., fluted shafts on stepped plinth bases, height 35 1/2 in., width 16 7/8 in., depth 16 7/8 in. $2000/3000 536. An Empire Gilt Bronze Figural Mantel Clock, 19th c., modeled as “Venus Chastising Cupid”, striking bell movement, oval base, toupie feet, height 13 3/4 in., width 11 1/2 in., depth 4 1/4 in. $700/900 537. A Very Fine American Classical Gilt Bronze-Mounted and Parcel Gilt Rosewood Center Table, early 19th c., New York, circular Egyptian marble top, conforming frieze, tapered Egyptian marble standard, tripartite plinth base, turned feet, casters, height 33 1/2 in., diameter 32 1/8 in. $10000/15000

537

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Note: The center table offered here is distinguished by the use of Egyptian black and gold marble not only in the top, but also in the tapered standard.

The opulent quality of the table is enhanced by the crisply cast and chased gilt-bronze collar on the base of the standard and by the gilt moldings articulating the bottom edges of the frieze and base. A feature commonly found on Classical center tables produced in New York City is the tripartite base, in which the round plinth immediately under the standard is extended outward in the form of platforms that rest on turned or on carved paw feet. On the current lot, the feet are conical in form, echoing the circular shape of the terminations of the three extensions of the base.

538. An American Aesthetic Carved, Incised and Ebonized Pedestal in the Egyptian Taste, late 19th c., square top over conforming standard with bead and reel and other moldings, band of reeding, stylized leaves and flowers, molded plinth, height 41 in., width 15 in., depth 15 in. $1200/1800 539. Jacquemain, fils (French, late 18th/early 19th c.), “Seated Portraits of Husband and Wife in a Garden”, 1800, each watercolor on artist board, signed and dated en verso in period script, period artist board labels en verso, each sight 9 in. x 11 in., period carved gilt frames, (2 pcs.) $2500/3500 Note: These portraits are beautiful examples of French Neo-Classical art and Directoire/ Empire fashion.

The Ionic pavillon, Grecian urn and domed tempietto that frame the garden settings in which the sitters are posed are recurring imagery in Neo-Classical art. The Greco-Roman revival in French art and fashion was equally influenced by the discovery of Pompeii and Herculaneum in the late 18th century as it was by the French Revolution. The French Revolution changed not only the political structure of the nation, but also the dress and art of its citizens: gone were the powdered wigs, elaborate petty-coats, and Rococo art of the old Regime. Gone too were the luxury imported goods (silks, lace, furs, powder) that made the dress of Louis XVI and his court feasible. The French turned instead to ancient Greece, the birthplace of democracy, for inspiration on how to represent the style and art of their nascent republic with the limited resources they had. The simplicity of the sitters’ dress— the woman’s high-waisted, uncorseted gown (modeled after the cotton peploi Greek maidens wore) and the man’s trousers (sansculottes)— were influenced as much by the economy as they were by republican ideals of equality.

Jacquemain, fils (the younger) is listed as an engraver and portraitist in an 1822 directory of French engravers. His father Jacquemain, also an engraver, is listed in the same directory as recently deceased.

References: Tierney, Tom. Empire Fashions. Toronto: General Publishing, 2001; Bibliographie de la France, ou, Journal général de l’imprimerie, vol. 1, Paris, 1822, p.645.

538

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540. An American Classical Mahogany Armoire, early 19th c., flared cornice above three figured paneled doors, pilasters to the sides, finely fitted interior of hanging compartments and linen trays, scroll feet, height 85 3/4 in., width 76 in., depth 28 3/4 in. $3000/5000 Provenance: Fairview, Estate of Maryland Governor Oden Bowie (1826-1894), Collington, MD. 541. An American or French Carved Mahogany Armchair, early 19th c., shaped padded back, curved arms with swan’s neck supports, rounded seat rail, saber legs. $1200/2000 542. An American Federal Birdseye Maple Chest of Drawers, early 19th c., case fitted with four graduated drawers, turned legs, ball feet, height 39 in., width 41 7/8 in., depth 21 in. $1200/1800 540

541

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543

543. A Fine Pair of American Classical Carved Mahogany Games Tables, early 19th c., New York, each having D-shaped foldover swivel tops, conforming frieze, acanthus carved support and arched acanthine legs ending in hairy paw feet, casters, height 30 in., width 33 in., depth 16 1/2 in. $2000/3000 544. An American Classical Carved Mahogany Secretary Bookcase, early 19th c., Boston, molded cornice, figured frieze, glazed doors with patera mullions; base with fall front leather-lined writing surface, open compartments and drawers, three long drawers flanked by chamfered colonnettes, plinth base, bun feet, casters, mahogany and pine secondary woods, bearing old script label “C.A. Smith, Boston”, height 92 1/2 in., width 47 1/2 in., depth 23 in. $2500/3500 Note: The architectonic quality of the secretary bookcase in the current lot suggests a Boston origin. Typical of Boston secretary bookcases are the octagonal columns flanking the drawers of the desk section, the bun feet, the boldly molded secretary drawer front, the well-articulated cornice over the frieze, and the richly figured mahogany veneers on the façade.

References: Stuart P. Feld and Page Talbott, “Boston in the Age of Neoclassicism, 1810-1840” (New York, 1999).

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545

547

546

545. An American Federal Carved Mahogany Work Table, c. 1810-1820, probably Northshore, MA, drop-leaf top, short drawers, one fitted for writing, found with original workbox frame and chocolate brown silk remnants, height 29 1/8 in., width 18 3/4 in., depth 17 3/4 in.

546. A Fine Continental Carved Giltwood Circular Frame, 19th c., decorated with flowers, fruit and leaves, opening diameter 17 3/8 in.

$1200/1800

$1500/2500

$1200/1800 547. A Pair of Restauration Gilt Bronze Urns, 19th c., each with a chariot race scene reserve and applied foliate handles, square plinth with applied lion masks and paw feet, height 14 3/4 in.

548

548. A Pair of French Neoclassical Gilt and Patinated Bronze Six-Light Candelabra, 19th c., each with maiden and putto supporting branch issuing foliate candlearms, black marble base, acanthus molded plinth, scrollwork feet, height 50 in., width 11 1/2 in., depth 12 in. $4000/6000

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550

551. A Continental Patinated Bronze and Marble Figural Inkwell, c. 1900, Egyptian bust set on stylized disc, green variegated marble base, height 9 in., width 8 in. $400/600

551

552

549. A French Empire-Style Gilt and Patinated Bronze Nine-Light Chandelier, 19th c., anthemion corona, chain links connecting to the circular font, body with flame finial, mask and scroll arms, palmette drop at the base, electrified, height 28 in., diameter 27 in.

$600/800

550. A Pair of French Empire-Style Gilt Bronze and Green Variegated Marble Three-Light Candelabra, cupid form standard issuing foliate candlearms, marble column and square plinth base, height 15 3/4 in., depth 5 in.

553. An Italian Bronze and Motherof-Pearl Embellished Inlaid Walnut Box, rectangular top with central raised painted figural panel, faux marbre panels, fabriclined interior, height 4 1/2 in., width 12 in., depth 9 in.

$1500/2000

$700/900

$1200/1800

553

552. A Pair of Continental Gilt and Patinated Bronze Candlesticks, 19th c., palm tree standard, dogs on base, height 12 in., width 6 1/2 in.

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554. An Antique Continental Carved Walnut Savonarola Chair, 19th c., probably Italian, arched volute crest with putti, shaped splat, rocaille carved arms terminating in lion’s masks, shaped seat, splayed legs centered by a lion’s mask, hoof feet. $500/800 Provenance: Noted New Orleans Antiquarian Susan Schoen, late 1970s.

554

556

555. Hubert M. Vos (Dutch/American, 1855-1935), “Still Life with Wine Bottle, Currants, Gooseberries, and Peaches”, oil on canvas, signed lower right, 16 3/8 in. x 13 1/4 in., framed. $2000/3000

557

556. Continental School, 19th c., “The ‘Magnificat’ Being Composed by the Madonna as Queen of Heaven, Enthroned with Christ Child”, mid-19th c., oil on canvas, diameter 23 in., period giltwood frame. $2000/3000

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557. A Fine Pair of Continental Gilt Bronze Vases, each with applied scrolling branch handles and floral swag, now mounted as lamps, circular base, overall height 30 in. $1500/2000

559. An Attractive Specimen Marble Plaque, depicting a hunt scene, comprised of various exotic marbles, sight 17 in. x 22 in., framed. $2000/3000 560. A Pair of French Verdigris Patinated Bronze Ducks, 19th c., height 17 in., width 22 in., and height 25 3/4 in., width 16 in. respectively.

559

$1200/1800

558

561. A French Bronze Figural Group of “Trois Enfants Montant sur un Cheval”, late 19th/early 20th c., after Arthur Leduc (French, 1848-1918), modeled as three mischievous boys clambering on a work horse, signed “le DUC, Scup”, and inscribed “A LEDUC/ A/ TORIGNY” stamped “557” on a naturalistic self base, height 26 3/4 in. $7000/10000

560

562. A French Allegorical Bronze of “Defense du Sol”, c. 1898, after Leon Roussel (French, 18681973), muscular figure with a spear in one outstretched hand and a knife in the other, inscribed Leon Roussel, “BRONZE GARANTI AU TIRE PARIS” foundry seal, titled on plaque “DEFENSE DU SOL/ PAR L. ROUSSEL, PRIX DE CONCOURS/ ECOLE DES BEAUX-ART, PARIS”, height 40 1/4 in.

562

558. An Italian Chinoiserie-Style Onyx Covered Urn, dragon handles, floral finial, scrolled feet, height 23 in., width 6 1/4 in., depth 7 in.

$5000/7000 561

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563. A Continental Bronze of a Bacchante, 19th/20th c., after Jacques-Marie-Michel Collet (French, 1793-1878), inscribed “Collet 1867” on trunk, height 27 1/2 in. $1500/2500 Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL. 564. A Rare American Gothic Carved Walnut Hall Chair, mid-19th c., stamped “C. Robinson Rochester New York” on lower stile, crocketed arched quatrefoil crest, padded back, paneled stiles and seat rail, blocked paneled legs, casters, retains old surface and needlepoint. $600/900

563

564

Note: This chair bears the stamped mark of Charles Robinson, a chair maker active in Rochester, New York, from 1830 to 1878. Robinson and his five brothers arrived in Rochester after the opening of the Erie Canal in 1825. By 1834, Robinson was working as a turner. In the early 1840s, Robinson began to mass produce at his factory on Brown’s Race simple, inexpensive ladder-back chairs with stenciled decoration. In the collection of the New York State Museum is a black-painted and stenciled side chair that is representative of the firm’s production. The modest quality of the chairs associated with Robinson’s factory implies that this high-style side chair of expensive rosewood was most likely made by a cabinetmaking establishment in an urban center such as New York City, purchased by Robinson on the wholesale market, and retailed by his firm. During the second half of the nineteenth century, a number of largescale furniture manufactories supplemented their stock with better quality pieces made for the wholesale trade by smaller cabinetmaking firms. The current lot is similar to Gothic Revival walnut, rosewood and mahogany side chairs made in Troy and New York City, New York.

References: Blake McKelvey, “Lumber and Wood Processing in Rochester’s History,” Rochester History (January 1978), p. 14; John L. Scherer, “New York Furniture at the New York State Museum” (Alexandria, VA, 1983), p.

103; Katherine S. Howe and David B. Warren, “The Gothic Revival Style in America, 1839-1870” (Houston, 1976), pp. 22-23

565

565. A Louis XVIStyle BronzeMounted Kingwood Parquetry and Marquetry Salon Table, early 20th c., shaped top with foliate border and bronzemounted molding, frieze with one drawer, fluted, tapered legs, incurvate inlaid stretcher, turned feet, casters, height 30 in., width 53 3/8 in., depth 28 3/8 in. $2500/3500

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566

567

566. A Pair Neoclassical-Style Bronze Doré Guéridons, after the Antique, each with inset specimen marble top with micromosaic of a ruin; lion’s masques shaped supports connected by X stretchers, paw feet with disc bases, height 26 3/4 in., width 12 1/2 in. $3000/5000

568

567. A Pair of Louis XV-Style BronzeMounted Mahogany Fauteuils, 19th c., shell mounted arched crests, padded acanthine arms, serpentine seat rails, cabriole legs ending in bronze paw feet. $800/1200

568. An Italian Neoclassical-Style Inlaid Mahogany Center Table, 19th c., circular top with scrolling foliate inlay and segmented flame veneers, shaped support, molded collar, incurvate plinth, shaped urn inlaid feet, height 29 7/8 in., width 46 3/4 in. $2500/3500

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569

570

570. A Louis XVI-Style Carved, Gris Peinte and Parcel Gilt Painted Center Table, inset rouge marble top, foliate molding, shell and floral swag frieze, carved, molded square tapered legs, shaped stretchers centered by an urn, height 33 in., diameter 43 in. $3000/5000 571. A Pair of EmpireStyle Gilt BronzeMounted Cut Crystal Urns on Stands, ebonized tripodal stands with hoof feet, Egyptianesque relief mounts, height 39 1/2 in., width 15 in., depth 11 1/2 in. $3000/5000 571

573

569. An Antique Empire-Style BronzeMounted Mahogany Three-Panel Screen, probably late 19th c., center panel with triangular pediment, blue silk, bronze paw feet, height 56 1/2 in., width 58 1/2 in.

572. An Antique Italian Renaissance-Style Brass Repoussé Coffer, 19th c., domed lid centered by a cartouche, overall scrolling acanthus leaves and masks on foliate bracketed paw feet, interior lined in damask, carrying handles on the sides, height 14 in., width 17 1/2 in., depth 9 1/2 in. $1200/1800 573. Annibale De Lotto (Italian, 18771932), “Il Granchio (Youth Pinched by a Crab)”, patinated bronze, inscribed “Delotto” on base, height 40 in.

$1000/1500

$2500/3500 572

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574

574. A Pair of Continental Marble Figures of Nymphs, 20th c., bronze bases, height 42 1/2 in. $4000/6000 575. Louis Hottot (French, 1834-1905), “Odalisque Reclining on a Divan”, polychrome bronze with removable velvet-lined headdress, scarf and robe, inscribed “L. Hottot” on base beneath legs, height 16 in., width 29 in.

576

$3000/4000 576. A Good Pair of American Classical Carved Mahogany Side Chairs, early 19th c., tablet crest rail, rosette carved medial rail, reeded stiles, slip seat, reeded sabre legs. $400/600 577. An American Late Federal Carved Mahogany Two-Part Dining Table, early 19th c., D end drop leaf top, conforming frieze, ring turned tapering legs, brass ferrules, casters, height 30 in., open length 92 1/2 in., width 53 in. $1500/2500

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578

580

579

578. A George III Mahogany Inlaid Serpentine Chest, late 18th c., four graduated drawers, shaped bracket feet, height 38 1/4 in., width 42 1/2 in., depth 23 in. $700/900 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 579. A Regency Carved Mahogany Secretary Bookcase, early 19th c., molded cornice, plain frieze, glazed doors, adjustable shelves; fall-front escritoire drawer, satinwood fitted interior with tooled leather writing surface, three graduated drawers, molded base, bracket feet, height 90 5/8 in., width 45 1/2 in., depth 20 5/8 in. $2500/3500 581

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580. An English Chippendale Carved Mahogany Tea Table, c.

1760, octagonal tilt top, pierced serpentine gallery, acanthus carved baluster standard, carved cabriole legs, scrolled toes, height 29 in., width 28 1/2 in., depth 27 in. $1000/2000 581. An Antique Louis XV-Style Chinoiserie Decorated and Bronze-Mounted Writing Desk, 19th c., the fall front opening to a fitted interior, shaped apron; cabriole legs, sabots; retaining original lacquered decoration, height 35 in., width 26 in., depth 16 1/4 in. $1200/1800

583 (2 of 4)

582. Attributed to Jeanne Philiberte Ledoux (French, 1767-1840), “Three-Quarter-Length Portrait of Napoleon I in Uniform”, pastel on artist board, signed lower left center, 31 1/2 in. x 23 3/4 in., period frame. $700/900

582

583. A Set of Four Continental Marble Reliefs of Roman Emperors, 20th c., comprising busts of Augustus, Claudius, Otho and Vespasian, height 15 in., width 14 in. $1500/3000

584

584. A Gorham Sterling Silver Turtle Soup Set, retailed by Bailey, Banks & Biddle, Philadelphia, 1898-1900, comprising a footed serving bowl and six individual bowls, all decorated with turtles and sea plants, combined weight 76.65 troy ozs. $8000/10000 585. An American Sterling Silver Table Garniture, Howard & Co., New York, wc.

1866-1922, marked “HOWARD & CO”, “STERLING, NEW YORK” and “1891”; comprised of an oval reticulated centerpiece, height 5 in., length 14 7/8 in., and four matching circular corbeilles, height 2 1/2 in., diameter 7 1/4 in., combined weight 80 troy ozs. $3000/5000

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586

587

588

587. A Continental Silver Cooler, Wm. Sauerwein, Germany, c. 1910, deep circular bowl mounted with cast lion mask drop ring handles; body inset with 30 silver coins from the various states of the German Empire, surrounded by repoussé chased laurel branches and berries which also frame repoussé chased “armorial”; reticulated cast grapevine band applied on upper rim; raised on cast paw feet; fitted with a removable brass finished copper liner having drop ring handles, height 9 7/8 in., width 12 7/8 in., depth 10 3/4 in., weight 94.55 troy ozs. $9000/12000 588 (detail)

586. A Gorham Martelé .950 Silver Center Bowl, c. 1898-1904, lobed circular form, everted shaped rim with monogram, height 2 1/2 in., diameter 13 1/2 in, weight 36.5 troy ozs. $5000/7000 Reference: Keefe, John Webster. Magnificent, Marvelous Martele, p. 51.

588. A Belle Époque French First Standard Hollowware Dinner Service, Cardeilhac, Paris, marked “CARDEILHAC/ PARIS” incuse, comprising 3 shaped oblong platters (length 18 1/8 in.), 2 shaped rectangular platters (length 14 1/8 in.), 2 shaped rectangular platters (length 11 7/8 in.), 6 shaped oval/oblong platters (length 12 1/8 in.), 4 sauceboats with attached underplates, 2 vegetable dishes and covers (length 12 3/8 in.), 2 shaped circular platters (width 14 3/8 in.), 3 shaped circular platters (width 13 7/8 in.), and 3 shaped circular platter (width 12 5/8 in.); wide shaped rims with flat chased and engraved strapwork motifs; gardooned borders; shell-shape handles on the vegetable dishes, removable ornate cast natural floral finials, combined weight 849.30 troy ozs., (27 pcs.) $35000/45000

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589. An Imperial Russian TwoHandled Silver Tray in the Neoclassical Taste, Karl Gustavovich Fabergé (1846-1920), Moscow, 1891, flat chased and engraved surface, conjoined monogram “KR” below a coronet within oval reserve, bound reed border, cast bowknot at base of handles, length 22 1/4 in., width 14 1/8 in., weight 52.15 troy ozs. $12000/18000 590. A Pair of Early Victorian Sterling Silver Gilt Wine Coasters, London, 1839, probably Richard Sibley, fully marked on rim of base; finely chased and gilt, each reticulated coaster with a cast foliate scroll rim, flared sides with cast C scroll border; raised on three complementary scroll supports; each with engraved crest within an oval reserve, wood base, height 4 1/8 in.

589

$12000/18000

590

591. A Set of Three Edwardian Dessert Dishes, W. Comyns & Sons, London, one 1907, two 1908, comprising a wirework footed dish and a pair of smaller matching dishes, each shaped circular form with applied cable band at rim and at juncture with circular bottom, raised on reticulated scroll supports; the interior wirework sides with cast floral and bird decorated swags, largest height 4 3/4 in., diameter 11 1/2 in.; pair height 3 3/4 in., diameter 8 1/2 in. and 8 3/4 in., combined weight 74.75 troy ozs.

591

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593

592. A Pair of Empire-Style Gilt Bronze Three-Light Figural Candelabra, probably early 20th c., each with foliate scroll candlearms, “Winged Victory” standard, on pedestal and plinth, height 21 in. $1800/2500 593. A Pair of Regency-Style Gilt Bronze Figural Garniture Lamps, early 20th c., faintly inscribed London, each with reclining female upon a recamier, single faceted glass and brass bobêche hung with glass prisms, electrified, height 10 1/2 in., width 12 in., depth 4 in.

592

$1500/2500

594

594. A Pair of Large Louis XVI-Style Gilt Bronze and Crystal Lanterns, hexagonal form, scrolled floral supports, the corners mounted with classical hermes, six-light fixture, hung with crystal pendants and beads, height 34 in., width 27 in. $8000/10000

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595

596

597

598. An Antique Gustavian Carved Giltwood Pier Mirror, 19th c., beaded cornice, frieze with laurel leaf scrolls centered with a roundel of a centaur, guilloche and bead frame, divided mirror plate, height 68 in., width 28 1/2 in. $2000/3000

599

596. Francisco Flora (Italian, b. 1857), “Iris” c. 1900, patinated bronze, inscribed “F. Flora”, numbered “17/65” and titled on self-base, mounted on an inlaid marble base with artist plaque, overall height 29 3/4 in.

598

$1200/1800

595. A Gilt Brass-Mounted Walrus Figural Decanter, glass body with hinged gilt brass head with tusks and a thumbpiece, height 10 in., length 14 in.

597. A French Bronze Figure of Diana, 19th c., after the Antique “Diane de Gabies” in the Louvre Museum, Paris, France, inscribed “F. Barbedienne” and marked with “A. Collas” reduction stamp on base, height 26 3/4 in.

$1200/1800

$1200/1800

599. A French Gilt and Enameled Bronze Figural Mantel Clock, cast as “Night Veiling Herself at the Dawn of the Day”, spherical dial case, striking bell movement on disc feet, height 19 1/4 in., width 17 in., depth 7 in. $3000/4000

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600. A Large Antique RenaissanceStyle Iberian Trestle Table, late 18th/early 19th c., paneled plank top, splayed scalloped legs, scrolled iron braces connected to stretchers, height 30 1/2 in., length 103 1/2 in., width 34 3/8 in.

600

$6000/8000 601. A Continental Belle Époque Porcelain and Bronze Occasional Table, late 19th c., galleried top, pierced shaped frieze, conforming medial shelf, X form scroll embossed legs, conforming stretcher, height 29 in., width 17 1/2 in., depth 13 1/2 in.

603

$1200/1800 601

602. George Elmer Browne (American, 1871-1946), “Landscape with Farm”, oil on canvas, signed lower left, “Estate of Martin Roche” label en verso, 16 1/4 in. x 24 in., framed. $2500/3500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 603. Oliver Dennett Grover (American, 1861-1927), “Italian Hill Town, Seen from a River”, 1926, oil on canvas, signed and dated lower right, 38 1/4 in. x 47 1/4 in., framed. $1500/2500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

602

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604. Jacques-Martin Ferrières (French, 18931972), “Le Port à Collioures [sic]”, oil on canvas, signed lower right, titled on “Le Monde Galleries, New York” label on stretcher, “G. DEIFINO, NICE” framer’s label on back of frame, 24 1/2 in. x 19 3/4 in., framed. $8000/12000 Provenance: A Shreveport, Louisiana Collector.

605. Georges Rouault (French, 1871-1958), “Oiseau Fantastique”, 1915, gouache, signed and dated lower center, titled on “Carstairs Gallery, New York” label en verso, “New Orleans Museum of Art” exhibition label en verso, sight 8 1/2 in. x 11 1/2 in., framed. $8000/12000 Provenance: Joel N. Weinstock Collection, New Orleans; partial proceeds to benefit the New Orleans Museum of Art in memory of Mr. and Mrs. B. Bernard Kreisler. (95.390).

Note: Georges Rouault was a painter, draughtsman and printmaker, whose oeuvre was greatly influenced by Fauvisma reaction against the Impressionists’ scientific study of light.

Led by Henri Matisse, the Fauves had a subjective approach to nature; their vibrant palettes, bold brush work, and distorted perspectives reflected psychological landscapes (inspired by dreams and emotions) in lieu of “real” ones.

Rouault first gained recognition at the 1905 “Salon d’Automne” in Paris, where he exhibited with Matisse and André Derrain, and the term “Fauves (wild beasts)” was coined by a critic. Fauvism continued to influence Rouault’s highly emotive “mature works,” which were infused with religious themes. The “Oiseau Fantastique (fantastic bird)” offered here and in the following lot are excellent pieces that embody this style. The broad strokes of black and sanguine ink in the background that form the images of the birds ensconced in egg-shaped ovals are equally influenced by the Fauvist style as they are by Rouault’s religious background and early apprenticeships as a stainglass window glazier/restorer. The semi-circle decorative border that surrounds these birds is a recurring framing device in Rouault’s works, inspired by the lead tracery on stain-glass windows.

604

In 1917, Ambroise Vollard, renowned art dealer and publisher, asked Rouault to illustrate his book The Reincarnations of Father Ubu, based on the early absurdist play by Alfred Jarry. Rouault accepted the commission on the condition that he would be able to produce engravings for Misere- a meditation on death he conceived in 1912. Created amidst these two major projects, the birds offered here may have originally been created as part of the Reincarnations illustrations, as they share compositional similarities to many of these prints, notably “Le Poisson Volant (the flying fish)” and “L’épervier (sparrow hawk).”

Two other known fantastic birds, of the same medium that are strikingly similar in size and composition, were painted by Rouault between 1915 and 1918. One was listed in the Strasbourg Museum of Modern and Contemporary Art catalogue for the 2006 exhibition “Georges Rouault: Forme, couleur, harmonie,” as entry 38, p. 193; the other was offered at Sotheby’s, London, June 22, 2004 as lot 452.

References: Molinari, Danielle. “Georges Rouault”. Oxford Art Online. 2007-2014. www.oxfordartonline.com. Accessed Oct. 29, 2014; Hergott, Fabrice. Georges Rouault: Forme, couleur, harmonie. Strasbourg: Musée d’art moderne et contemporain de Strasbourg, 2006.

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606. Georges Rouault (French, 1871-1958), “Oiseau Fantastique”, 1915, gouache, signed and dated lower center, titled on “Carstairs Gallery, New York” label en verso, “New Orleans Museum of Art” exhibition label en verso, sight 8 3/4 in. x 11 1/2 in., framed. $8000/12000 Provenance: Joel N. Weinstock Collection, New Orleans; partial proceeds to benefit the New Orleans Museum of Art in memory of Mr. and Mrs. B. Bernard Kreisler.

(95.390).

606

607. Joan Miró (Spanish, 18931983), “Le Bagnard et sa Compagne”, (D.749), 1975, etching and aquatint printed in colors, signed in white pastel lower right, pencilnumbered “16/50” lower left, on Arches wove paper, printed to the edge, published by Maeght, Paris, sheet 47 5/8 in. x 63 in., framed. $25000/35000 Provenance: Estate of a New Orleans Collector.

607

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608 608. The William Avery Rockefeller Rockwood Hall Carved Rosewood Overmantel Mirror, c. 1887, stamped Herter Brothers, New York, lamb’s tongue molded cornice, circular mirror plate within anthemion surround festooned by winged putti and swags carved in bas relief, flanked

by Neo-Classical flaming torchère columns, dentil molded base, height 86 1/2 in., width 103 in., depth 15 in. $30000/50000 Provenance: Rockwood Hall, Tarrytown, NY, 18871941.

reeded flora that comprise the surround and much of the swags are strikingly similar to Herter Brothers’ wallpaper designs, most notably no. 1102-1103 illustrated in Howe, Herter Brothers: Furniture and Interiors for a Gilded Age as figs. 76-78., p. 97. The exquisite carving on the lion’s masks at the base of the pilasters is distinctly Herter in design and closely resembles newel post details on the grand staircase at the Lockwood-Mathews Mansion in Norwalk, CT, also illustrated in Howe, p. 141. Elements of this monumental mirror design re-emerge in the rosewood overmantel reserve Herter Brothers executed under McKim, Mead & White in 1895 for the living room of Frederick Vanderbilt’s mansion in Hyde Park, NY.

Photograph of Overmantel Mirror in Note: This rare monumental mirror was designed by Rockwood Hall Drawing Room, c. 1922.

Herter Brothers, c. 1887-1890, for the drawing The Rockwood Hall overmantel mirror and drawing room of oil tycoon William Avery Rockefeller’s 204room are described in detail in 1893 by the society room Tudor mansion in Tarrytown, NY. In 1886, columnist who covered the wedding of William’s Rockefeller purchased 150 acres of land (later daughter, Emma, at Rockwood Hall, and then noted expanded to 1000) along the Hudson River. No again in 1923 by Wm. White and Sons, the realty expense was spared for Rockefeller’s summer home company that sold Rockwood Hall to a golf course/ that neighbored and rivaled his elder brother John country club developer. The room is described by the D. Rockefeller’s in Pocantico. Frederick Law Olmsted society columnist as having exquisite rosewood/ designed the grounds; the best stone masons were mahogany woodwork inlaid with designs of maplebrought in from Scotland and the woodcarvers from a key trademark of Herter brothers. The Switzerland. Much of the décor was designed by mantelpiece, both writers report, is the centerpiece Carrère and Hastings and Herter Brothers. In 1941, 1906 Postcard of Rockwood of the drawing room, made of “tile and rose J.D. Rockefeller Jr. had Rockwood Hall demolished.

Hall, Tarrytown, NY. marble” with rosewood supports that match the According to the Rockefeller Archive Center, the “round mirror of French glass… surrounded by a overmantel mirror, offered here, is extremely rare, as panel of beautifully carved rosewood.” it is the only known architectural element to survive the destruction.

The overmantel mirror was designed to center the carved rosewood pillars and ceiling beams that frame the fireplace area. The decorative fanned shells and

References: Howe, Katherine, et al. Herter Brothers: Furniture and Interiors for a Gilded Age. Houston: Museum of Fine Arts, 1994; Albee, Peggy, et al. Vanderbilt Mansion: A Gilded Age Country Place. Boston: National Parks Services, 2008; “Rockwood Hall”. The New York Times Dec. 12, 1893: S; “Rockwood Hall: The Country Estate of the Late WM. Rockefeller,” Wm. White and Sons. 1923: 10.

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611. A Pair of Newcomb College Art Pottery Candlesticks, 1925, decorated

by Anna Frances Simpson with confederate jasmine, matte glaze with blue, green, white and yellow underglaze, bases marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. OL77 and OL78, and shape no. 232, height 7 3/8 in., diameter 4 1/8 in.

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$3000/5000

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609. A Newcomb College Art Pottery High Glaze Vase, 1904, decorated by Mary Givens Sheerer with a band of incised alamanda blossoms, dark blue, green and mustard yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. VV35, and Q for buff clay body, height 9 1/2 in., diameter 6 3/4 in. $10000/18000 610. A Newcomb College Art Pottery Plaque, 1918, decorated by Anna Frances Simpson with a landscape design of a moss-laden live oak before a fence, matte glaze with blue, green and pink underglaze, cipher at lower left, reverse marked with Newcomb cipher, decorator’s mark, reg. no.

JI12, retaining the original paper label, 6 in. x 10 in., original molded wood frame with a label from Farish Art Store, New Orleans, 10 1/2 in. x 14 1/2 in. $8000/12000

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612. A Newcomb College Art Pottery Wall Pocket, 1901, decorated by Henrietta Bailey with stylized blossoms modeled in relief, high glaze 612 with blue, green and white underglaze, interior marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, registration number A2, and W for white clay body, height 10 1/2 in., diameter 3 5/8 in.

Condition: Very good. $8000/12000 Illustrated: Bragg, Jean and Dr. Susan Saward, The Newcomb Style, New Orleans: Jean Bragg Gallery, 2002, p. 86, no. 113.

613. A Newcomb College Art Pottery Vase, 1909, decorated

by Marie de Hoa LeBlanc with tulips modeled in low relief, high glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. CX28, and Q for buff clay body, height 10 5/8 in. $8000/12000 614. A Newcomb College Art Pottery Vase, 1915, decorated

by Alma Mason with Louisiana irises modeled in low relief, matte glaze with blue, green, pink and white underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. HN13, and shape no. 180, height 11 3/4 in. $10000/15000

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615. Clementine Hunter (American/Louisiana, 1886-1988), “It’s the Way Christmas Time Was Once: The Holy Family”, 1944, oil on paper, monogrammed upper left, signed “Clemence” lower right, titled, dated, inscribed and with provenance en verso of mat board, 11 1/2 in. x 14 1/2 in., framed

616. Clementine Hunter (American/Louisiana, 1886-1988), “The Wedding”, oil on board, monogrammed lower right, 16 in. x 20 in., framed. $4000/6000 Provenance: Succession of Leon J. Impastato, New Orleans (1925-1998).

$5000/7000 Provenance: Acquired from James Register, Natchitoches, LA.

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617. Boyd Alvyk Cruise (Mississippi/New Orleans, 19091988), “Fire Insurance Patrol, 732 Camp Street”, 1951, watercolor on Strathmore board, signed lower right, loan label from The Historic New Orleans Collection’s 1976 exhibition “Boyd Cruise”, image 18 in. x 15 in., board 23 in. x 20 in., framed. $15000/25000 Provenance: Acquired from the artist, thence by descent in a Shreveport family.

Exhibited: Boyd Cruise, The Historic New Orleans Collection, 1976 and listed in the accompanying catalogue on p. 70.

Note: Boyd Cruise spent most of his adult life in New Orleans, although he was born in Mississippi and raised in Lake Charles, LA. He moved to the city in 1928 upon receiving a scholarship to the Arts and Crafts Club of New Orleans, where he studied under famed New Orleans artists such as Weeks Hall and Knute Heldner. He then completed his training at the Pennsylvania Academy of Fine Arts and received several awards and scholarships.

Upon his return to New Orleans, Cruise worked with architect Richard Koch on a WPA initiative to document examples of American architecture, beginning his lifelong interest in historic preservation in the French Quarter. The artist

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concentrated on endangered buildings, spending hours researching original facades that had been altered or destroyed, and eventually creating works such as “Fire Insurance Patrol, 732 Camp Street” offered here.

An historical counterpart to the fire department, the fire insurance patrol would enter buildings after the firemen to protect goods and assets from water damage and thievery; they were especially concerned with protecting major industrial interests in the city. In this unique and exciting work offered here, Cruise perfectly captures the moment of action, as the patrolmen erupt from the building, mounted or on foot, to rush to the scene of a fire. The drama of this watercolor stands out among Cruise’s similar French Quarter preservation paintings, while his meticulous attention to detail preserved the scene for future generations.

In the early 1950s, General L. Kemper and Leila Williams appointed Cruise cataloguer and curator of their art collection, which would eventually become the foundation for The Historic New Orleans Collection in 1966. Cruise served as first director until 1974 and director emeritus until his death in 1988.

References: Capo, Lissa. “Boyd Cruise.” KnowLA Encyclopedia of Louisiana Sep. 12, 2012. www.knowla. org. Accessed October 16, 2014. Christovich, Mary Louise. Boyd Cruise. New Orleans: The Historic New Orleans Collection, 1976, pp. 2-13. O’Connor, Thomas, ed., History of the Fire Department of New Orleans: from the Earliest Days to the Present Time, New Orleans, 1895.

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620. John Steuart Curry (American/Kansas, 1897-1946), “John Brown”, 1939, lithograph, signed and titled in pencil, edition of 250, published by Associated American Artists, 14 5/8 in. x 10 7/8 in., framed. $3000/5000 Provenance: B. Bernard Kreisler; Joel N. Weinstock Collection, New Orleans.

618. Marie de Hoa LeBlanc (American/New Orleans, 1874-1954), “View in City Park”, oil on canvas, signed lower right, 16 in. x 20 in., framed. $1500/2500 619. Romare Bearden (American, 1911-1988), “Conversation”, 1979, color lithograph on paper, pencil-signed lower right, numbered 142/175, “London Arts, Copyright 1979” stamped en verso, exhibition label en verso, sheet 21 3/8 in. x 28 1/4 in., framed.

621. Thomas Hart Benton (American/Missouri, 1889-1975), “Loading Corn”, 1945, lithograph, edition of 250, printed by the Associated American Artists, pencil signed lower right, Associated American Artists label en verso, 9 5/8 in. x 12 7/8 in., framed. $2000/3000 Provenance: B. Bernard Kreisler; Joel N. Weinstock Collection, New Orleans.

$4000/6000 Note: Listed in A Graphic Odyssey, Romare Bearden as Printmaker, edited

by Gail Gelburd, University of Pennsylvania Press, 1995, fig. 65, p. 83.

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622. Winslow Homer (American, 1836-1910), “Lady with Plumed Hat”, ink on paper, signed and inscribed “New York City” across lower half of drawing, sheet 4 3/8 in. x 2 3/4 in., framed. $8000/12000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. Note: Although most well known for his crisp plein-air paintings, Winslow Homer began his career as an illustrator and a lithographer, contributing to magazines such as Harper’s Weekly and Ballou’s Pictorial. His illustrations ranged from genre scenes to depictions of Civil War battles and the women’s war effort; he often included elegant young women in fashionable attire in his works. In “Lady with a Plumed Hat,” the overskirt and crinoline and the shirtwaist and jacket, paired with a low-crowned hat with a dipping brim and a windblown plume seem to have been a favored ensemble for the artist to depict. It is also an example of classic 1860s high fashion.

Although the stylish young lady in the sketch is not identified, she closely resembles Homer’s cousin Florence Tyron, who was active in the artist’s social circle and frequented croquet games at his Belmont, MA home. In the artist’s catalogue raisonné, Lloyd Goodrich notes that Miss Tyron was a “cooperative and generous friend” as well as a “likely figural model in a number of his early works.” Representations of Tyron can be seen in “The Croquet Players” of 1866, located at the Metropolitan Museum of Art, and “The Portrait of Miss Florence Tyron“ of 1868, located at the Museum of Fine Arts, Boston.

Reference: Goodrich, Lloyd. Ed. Abigail Booth Gerdts. Record of Works by Winslow Homer. New York: Spanierman Gallery, 2005.

623. Dod Proctor (British, 1892-1972), “Baby in Long Clothes”, c. 1925-1927, oil on canvas, signed lower middle, signed, titled and inscribed en verso, “David Messum Fine Art Gallery” label en verso, 18 1/2 in. x 35 3/8 in., framed. $7000/9000 Provenance: Acquired by a New Orleans collector from Messum Fine Art Gallery, London.

Exhibited: “European Paintings from the Carnegie International Exhibition” at The Art Institute of Chicago from March 19-April 21, 1929 and listed as #107 in the accompanying catalogue, p. 29.

Note: For a time in the 1920s, Dod Procter was perhaps the most famous artist in Britain. Monumental figure paintings and studies of the female form, from babies to young women, were defining elements of her work. In this example of the same time period, Procter echoes the horizontal composition and well-known creases of her most famous canvas, “Morning,” which was voted picture of the year at the Royal Academy Summer Exhibition of 1927 and was purchased for the nation by the Daily Mail newspaper.

The artist also skillfully achieves an illusion of naturalness and relaxation that belies the artificiality of the unsentimental composition.

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Reference: James, Alison. A Singular Vision: Dod Procter 1890-1972. Bristol, UK: Sansom & Company Ltd., 2007.

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625. A Newcomb College Art Pottery Vase, 1913, decorated by Sadie Irvine with sable palm trees in low relief, semi-matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. GC70 and shape no. 243, height 13 3/4 in., diameter 7 in. $15000/25000

626 624. An Early and Rare Newcomb College Art Pottery High Glaze Charger, c. 1900, decorated by Harriet C. Joor, blue underglaze with a portrait of a young woman before a ground of lilies, base marked with Newcomb cipher, decorator’s mark, “O”, and a lemon-shaped date mark, diameter 9 3/4 in.

626. A Newcomb College Art Pottery Vase, 1922, decorated by Anna Frances Simpson in the Moon and Moss design, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. MK21, and shape no. 161, height 8 3/8 in. $7000/9000

$8000/10000 Provenance: Descended within the artist’s family.

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627. A Newcomb College Art Pottery Vase, 1905, decorated

by Leona Nicholson with incised persimmon fruit and banding, high glaze with blue and dark green underglaze, base marked with Newcomb cipher, decorator’s mark and reg. no. AG50, height 6 3/8 in. Note: Condition. $4000/6000

629. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), “Diminutive Painting #12”, 1988, oil and graphite on board, signed and dated lower right, artist label en verso, 9 3/8 in. x 11 in., framed. $1500/2500 630. George Bauer Dunbar (American/New Orleans, b.

1927), “Abstract”, gold and silver leaf over clay on board, unsigned, 19 3/8 in. x 24 in., framed. $3000/5000 Provenance: Joel N. Weinstock Collection, New Orleans, LA.

628. A Pair of Newcomb College Pierced Brass Bookends, c. 1930, by Rosalie Roos Wiener, decorated with oxeye daisies, verdigris patina, unmarked, height 7 1/8 in., width 3 1/8 in., depth 4 1/2 in. $1500/2500 Note: A nearly identical pair of bookends is illustrated on p. 154 of The Newcomb Style by Jean Bragg and Susan Saward (2002).

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631. Will Henry Stevens (American/ New Orleans, 18811949), “Abstraction with Triangles and Circles”, 1940, oil on board, initialed and dated lower left, sight 17 3/4 in. x 22 1/4 in., framed. $15000/25000 Provenance: Estate of the artist; Blue Spiral 1 Gallery, Asheville, NC. Note: Will Henry Stevens (1881-1949) was a pioneer of Modernism in the South, who worked simultaneously in both abstract and representational styles.

Stevens came to New Orleans in 1921 to teach at Newcomb College, a position he held until the year prior to his death. Stevens became a part of the active and exciting art circle centered around the French Quarter. Prior to and during his tenure in New Orleans, he also worked in and visited New York where he was exposed to current international developments in artistic styles. A trip in the 1930s to the newly opened Solomon R. Guggenheim Museum in New York exposed him to the work of the European masters Paul Klee and Wassily Kandinsky.

Both artists became a strong influence on Stevens’ mature abstract style. Stevens created a body of work inspired by the landscapes of coastal Louisiana and the mountains of western North Carolina and eastern Tennessee where he summered, translating the geometry of nature into abstract compositions. Dating to 1940, the painting offered here is a masterful example of Stevens’ mature modern, abstract style.

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632. Hunt Slonem (American, b. 1951), “Lories”, 2002, oil on eight attached canvases, signed, titled and dated en verso, 31 3/4 in. x 81 1/4 in., framed. $6000/9000 Note: Born in Kittery, Maine, Hunt Slonem spent much of his formative years traveling, including a period in Hawaii and Nicaragua, where he was an exchange student. He developed a fascination with “exotica”: the birds, butterflies, and flora of the islands. After graduating, he pursued an education in the arts at Tulane University and the prestigious Skowhegan School of Painting and Sculpture in Maine and later moved to New York, where he befriended the cutting age artists and writers of the day, including Andy Warhol and Truman Capote. He developed a Neo-Expressionist style of painting with an emphasis on vibrant colors and heavy brushstrokes, capturing the exotic and alluring images of the natural world inspired by his youth. The “Lories”, presented here, relates to a larger scale mural painted by the artist in 1995 in the famed Bryant Park Grill in New York City.

Reference: Katz, Vincent Pleasure Palaces: The Art and Homes of Hunt Slonem Brooklyn: powerHouse, 2007. Hunt Slonem: An Expressive Nature. The Polk Museum of Art, 2012.

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634

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634. A Newcomb College Art Pottery Vase, 1913, decorated by Sadie Irvine with a landscape design of moss-laden live oaks, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. GI37, shape no. 49 and B for buff clay body, height 6 in., diameter 8 in. $3000/5000

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635. A Newcomb College Art Pottery Trivet, 1916, decorated by Sadie Irvine with daffodils modeled in low relief, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, and reg. no. IE64, height 1/2 in., diameter 5 3/4 in. $1200/1800

633. A Newcomb College Art Pottery High Glaze Vase, 1903, decorated by Marie de Hoa LeBlanc with a landscape design of pine trees, dark blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, reg. no. II23 and Q for buff clay body, height 9 1/4 in.

636. A Newcomb College Art Pottery Vase, 1929, decorated by Sadie Irvine with a landscape of moss-laden live oaks, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, reg. no. RT37 and shape no. 49, height 6 in., diameter 8 in.

$7000/10000

$3000/5000

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637. A Newcomb College Art Pottery High Glaze Vase, 1908, decorated by Marie de Hoa LeBlanc with freesia modeled in relief, blue, dark green, yellow and white underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. CG63, and W for white clay body, height 8 7/8 in. $3000/5000 638. A Shearwater Art Pottery Plate, c.

1940-50, decorated by Walter Anderson with two pelicans, quarter size impressed mark, diameter 10 1/2 in.

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$2500/3500 639. A Shearwater Pottery Vase, c. 1940, thrown by Peter Anderson, decorated by James McConnell (Mac) Anderson in the “fish” design, gunmetal glaze, quarter size impressed mark, height 7 1/8 in., diameter 8 3/8 in.

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$3000/5000 640. A Shearwater Pottery Urn, c.

1935, thrown by Peter Anderson, carved by James McConnell (Mac) Anderson, with a lilypad design, double glazed with bronze over gray, impressed mark, height 5 3/4 in., diameter 7 in.

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$2000/4000 641. A 641 Shearwater Pottery Vase, c.

1945, decorated

by Walter Anderson in the “Dancing Man” pattern, blue rain glaze, quarter size impressed mark, height 7 3/4 in. $2500/3500 Illustrated: Stewart, Dod, et. al, Shearwater Pottery, Slidell: Bristol Publishing, 2005, p.

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642

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644. A Newcomb Pottery High Glaze Vase, 1903, decorated

by Amelie Roman, incised with alamanda blossoms and lily pads, high glaze with blue, green and mustard yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. Z62, and “Q” for buff clay body, height 4 3/8 in. $3000/5000 645. A Newcomb College Art Pottery Mug, 1906, decorated

by Maria de Hoa Leblanc in relief with grapes and foliage, high glaze with blue and green underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. BK66 and “Q” for buff clay body, height 5 32/8 in.

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$1200/1800

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642. A Shearwater Pottery Bowl, c. 1992, decorated by James McConnell “Mac” Anderson with a street scene, black and white lobed design around the base, fully marked, height 3 5/8 in., diameter 7 1/2 in. $3000/5000

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643. A Shearwater Pottery Plate, c. 1950s, jiggered by Peter Anderson, decorated by Walter Anderson in “Rooster and Sun” design, white, green, blue and ochre slip decoration, quarter size impressed mark, diameter 8 1/2 in. $1500/2500

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646. A Newcomb College Art Pottery Vase, 1921, decorated

by Anna Frances Simpson with bearded iris, matte glaze with blue, green and pink underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. LS 88, and shape no. 179, height 8 5/8 in. $3000/5000

647. A George Ohr Pottery Vase, c. 18831898, crimped twisted body with yellow-brown and blue glaze, impressed mark, height 3 1/2 in., diameter 5 1/8 in. $2000/3000 647

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648. A Newcomb College Art Pottery Lidded Inkwell, 1927, decorated by Anna Frances Simpson with narcissus in relief, matte glaze with blue, green, white and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, reg. no. Q096 and shape no. 225, height 3 1/4 in. $1500/2500 649. A Newcomb College Art Pottery Vase, 1925, decorated by Sadie Irvine, squat baluster form modeled with Louisiana irises and foliage, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. OR23 and shape no. 66, height 4 5/8 in., diameter 7 1/2 in. $3000/5000

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650. A Rare Shearwater Pottery “Bacchante” Vase, c. 1930s, designed and decorated by Walter Inglis Anderson, thrown and glazed in blue-green alkaline by Peter Anderson, base with impressed dime-sized Shearwater stamp, signed by Walter Anderson with a “W”, height 9 1/2 in., diameter 8 1/2 in. $7000/10000 Provenance: Descended in the family of Richard Bissell, Dubuque, Iowa, river boat captain and noted author, whose book, 7 1/2 Cents (1953) was made into the Tony award winning Broadway musical Pajama Game.

Reference: For a similar example, also signed by Walter Anderson, see Dod Stewart, Shearwater Pottery, 2005, p.

73.

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651 653

652 654 651. A New Orleans Art Pottery Bowl, c. 1886-91, decorated with applied leaves with a bronze glossy glaze on a matte blue ground, stamped mark “New Orleans Art Pottery/ No. 249 Baronne Street”, height 5 1/2 in., diameter 8 1/4 in. $1500/2500 Illustrated: Bragg, Jean, Newcomb College Arts & Crafts Sales Exhibition, New Orleans: Jean Bragg Gallery, 1998, p. 19, no. 9.

652. A Newcomb College Art Pottery Trivet, 1913, decorated by Henrietta Bailey with a relief-carved wreath of Cherokee roses, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, Joseph Meyer’s potter’s mark, reg. no. FY39, shape no. 10 and B for buff clay body, diameter 5 3/4 in. $800/1200

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653. Alexander John Drysdale (American/New Orleans, 18701934), “Bayou Landscape with Live Oak”, 1916, oil wash on board, signed and dated lower right, “W.E. Seebold” label en verso, sight 14 3/4 in. x 19 1/2 in., framed. $3000/5000 654. Alexander John Drysdale (American/New Orleans, 18701934), “Moss-Draped Oak with Pirogue”, 1914, oil wash on academy board, signed and dated lower right, 15 1/2 in. x 19 1/4 in., framed. $3000/5000

655. George Rodrigue (American/Louisiana, 1944-2013), “Walking in the Bayou Teche”, 1988, oil on linen, signed lower left, signed, dated and titled en verso, 20 in. x 24 in., framed. $35000/50000 Provenance: Descended in a New Orleans, LA family.

Note: George Rodrigue often stated that his Cajuns were inseparable from their landscape, and his Cajun paintings are abundant with his unique set of symbols for Louisiana.

In this example, the small sky with a light in the distance references the hope of the Acadians as they made a new home for themselves on the bayou. The riders and horse melt into the water of the bayou while the oak tree locks them into the landscape, just as the Acadians became an integral part of Louisiana’s cultural history. Also, the Bayou Teche and road blend together, much the way people have used rivers and roads interchangeably for transportation and trade in Louisiana for centuries.

The painting offered here is a later, mature example in Rodrigue’s Cajun series and coincides with the early years of Rodrigue’s Blue Dog series as well as some of his most famous portrait commissions, like those of Ronald Reagan (1988) and George H.W. Bush (1989).

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656. George Valentine Dureau (American/New Orleans, 19302014), “Young Man Standing beside a Tripod”, oil on canvas, signed lower right, 76 in. x 47 1/4 in., unframed. $6000/8000 Provenance: Joel N. Weinstock Collection, New Orleans, LA.

657 657. Jean (Hans) Arp (French/Swiss, 1886-1966), “Torso”, 1958, patinated bronze, artist’s name and number “5/10” inscribed on bottom rim, height 4 1/4 in., width 2 3/4 in., painted wood base.

656

$8000/12000 Provenance: Joel N. Weinstock Collection, New Orleans, LA. W denotes the lot is illustrated at www.nealauction.com

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661. George Bauer Dunbar (American/ New Orleans, b.

1927), “Columns”, c.

1950, oil on panel, signed and dated “S” lower right, 20 in. x 28 in., framed. $1200/1800 Provenance: Joel N. Weinstock Collection, New Orleans, LA. 659

658

658. Lin Emery (American/New Orleans, b.

1928), “Untitled”, aluminum and painted wood kinetic sculpture, artist’s name inscribed on lower left of box, on a painted metal stand, electrified, overall height 42 1/2 in.

660 (2 of 6)

$4000/6000 659. Lin Emery (American/New Orleans, b.

1928), “Petal Forms”, aluminum kinetic sculpture, artist’s name inscribed on base, height 17 1/2 in., acrylic base. $3000/5000 660. Leonard Baskin (American, 19222000), “Six Figures from Greek Mythology”, 1968-1969, low-relief bronze plaques, each with artist’s name and title inscribed on front, artist’s name, title, date and number “57/250” stamped on reverse, diameter 6 5/8 in; together with six clear acrylic stands. $1800/2500 Provenance: Joel N. Weinstock Collection, New Orleans.

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664 664. Antoni Tàpies (Spanish, 1923-2012), “723”, c. 1988, color intaglio and carborundum, signed in crayon lower right and numbered “13/99” lower left, exhibition label en verso, 31 in. x 27 in., floated in an acrylic frame. $1500/2500 W 665. A Newcomb College China-Decorated Limoges Porcelain

Plate, early 20th c., attributed to Leona Nicholson, finely decorated around the rim with blue water lily blossoms and green pads on a stippled gilt ground, bordered with gilt, blue, green and black bands, unmarked, diameter 10 1/4 in. $800/1200 663

Illustrated: Bragg, Jean and Dr. Susan Saward, The Newcomb Style, New Orleans: Jean Bragg Gallery, 2002, p. 69, no. 78.

662. John Clemmer (American/New Orleans, 1923-2014), “To the Beach”, 1997, oil on board, signed and dated lower right, titled on artist label en verso, 15 1/2 in. x 15 1/2 in., framed.

W 666. A Newcomb College China-

Decorated Porcelain Platter, 1924, decorated

by McCormick, rectangular handled form with gilt rim, painted with lotus blossoms and lily pads, watery blue ground, signed and dated “McCormick ‘24” on base, length 19 1/2 in., width 6 1/4 in.

$1500/2500 Provenance: Joel N. Weinstock Collection, New Orleans, LA.

$800/1200 Provenance: Jean Bragg Gallery, New Orleans, LA.

663. John Clemmer (American/New Orleans, 1923-2014), “Bogota”, polymer oil collage on masonite, signed lower right, signed and titled en verso, 11 5/8 in. x 13 1/8 in., framed.

667. Morris Henry Hobbs (American/New Orleans, 1892-1967), “The Antique Shop, Old New Orleans, 608”, watercolor on paper, signed lower right, 15 5/8 in. x 11 3/4 in., framed.

$1200/1800 Provenance: Joel N. Weinstock Collection, New Orleans, LA.

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672

670. Alberta Kinsey (American/New Orleans, 1875-1952), “French Quarter Patio with Figure”, oil on canvas, signed lower right, 13 7/8 in. x 19 1/2 in., framed. $1500/2500

669

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669. John McCrady (American/ Louisiana, 1911-1968), “Running Figure”, ink on paper, initialed and titled lower center, ink sketches en verso, 8 in. x 11 in., matted and framed. $1500/2500

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668. Morris Henry Hobbs (American/New Orleans, 1892-1967), “Cabin along the Bayou”, c. 1941, oil on canvas board, signed lower right, 8 in. x 10 in., framed. $2000/3000 Provenance: Descended in the family of the artist.

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Note: McCrady, known for his hyper realistic images of life in the American south, utilized drawing as a way to study the vibrancy of everyday human interaction. McCrady experimented with this medium throughout his career with his “multi-stage technique” and later “carbon acrylic” works which fused both drawing and painting. The drawing presented here, “Running Fiqure,” provides a glimpse into McCrady’s artistic process and his interest in the dynamism of the human form.

References: Marshall, Keith. John McCrady: 1911-1968: Essay and Catalogue, New Orleans Museum of Art, 1975; Neal Auction Company. Winter Estates Auction, January 30 & 31, 2010, Lot 350.

671. Alberta Kinsey (American/New Orleans, 1875-1952), “Still Life of Zinnias and Garden Roses in a Pitcher with Lemons”, oil on canvas affixed to board, signed lower left, 19 in. x 15 3/8 in., framed. $1800/2500 672. Alberta Kinsey (American/New Orleans, 1875-1952), “Clementine Hunter’s Cabin, Melrose Plantation, Natchitoches”, oil on canvas affixed to masonite, unsigned, remnants of “The RikeKumler Company, Dayton, Ohio” label en verso, 16 1/2 in. x 20 1/2 in., framed. $2000/4000

673 675

674 676 673. Clementine Hunter (American/Louisiana, 1886-1988), “The Rooster”, oil on board, monogrammed center right, titled en verso, 16 in. x 23 3/4 in., framed. $3500/5500 Provenance: Acquired from the artist by a Natchitoches lady.

674. Alfred Heber Hutty (American/Charleston, 1877-1954), “The Shadowed Pool”, watercolor on paper, signed lower left, sheet 11 in. x 15 in., titled en verso, framed. $4000/6000 Note: Alfred Hutty was born in Michigan in 1877 and attended school at the St. Louis School of Fine Arts beginning at age 15. Inspired by the work of Birge Harrison and his sensitive paintings of nature, Hutty moved his family to Woodstock, New York, in 1907, where he attended summer sessions of the Art Students’ League under Harrison’s tutelage. The beautiful environment of Woodstock would be Hutty’s first love affair with landscape, followed by Charleston, SC and its surrounding countryside beginning in 1921.

This work, featuring distant figures near a shadowed pool at sunset, displays Hutty’s masterful use of tonality as well as his empathy and respect for the people who worked as agricultural workers, domestic workers, or in similar occupations. Hutty’s career spanned forty-seven years, and his oil and watercolor landscapes, such as the painting offered here, remain the most lasting legacy of his artistic vision and body of work.

Reference: Arnold, Sara C. and Stephen G. Hoffius, eds. The Life and Art of Alfred Hutty. Columbia, SC: University of South Carolina Press, 2012.

675. Alfred Heber Hutty (American/Charleston, 18771954), “Preparation”, 1928, dry point on paper, pencil-signed and snail artist device lower right, pencil-titled lower left, number 5/20, plate 8 7/8 in. x 8 7/8 in., sheet 11 1/2 in. x 11 1/2 in., unframed. $800/1200 Note: Listed and illustrated in The Life and Art of Alfred Hutty, Woodstock to Charleston edited by Sara C. Arnold and Stephen G. Hoffius, Columbia: The University of South Carolina Press, 2012, no. 82, p. 138.

676. Alfred Heber Hutty (American/Charleston, 18771954), “Loblolly Pines”, drypoint on paper, pencil-signed and snail artist device lower right, The Prairie Print Makers, Wichita, Kansas, 1939, brochure announcing ninth gift print of “Loblolly Pines” by Alfred Huber Hutty en verso, plate 6 1/2 in. x 8 1/4 in., sheet 10 1/4 in. x 12 in., matted. $500/700 Illustrated: Saunders, Boyd, and Ann McAden, Alfred Hutty and the Charleston Renaissance, Sandlapper Publishing Company: Orangeburg, 1990, p. 119 and Arnold, Sara G. and Stephen G. Hoffius, eds., The Life and Art of Alfred Hutty, Woodstock to Charleston, The University of South Carolina Press: Columbia, 2012, no. 163, p. 152.

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

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W 679. A Newcomb

College Pierced Brass Doorbell Plate, c. 1920-30, by Alice Leigh Moise (19051997), with a “C” within a circle with stylized arches above and below, height 3 5/8 in., width 1 3/4 in., in the original box with the artist’s label. $300/500 W 680. An American

Arts & Crafts Punched Brass Shade, early 20th c., attributed to Newcomb College, decorated with Louisiana irises, height 3 1/2 in., diameter 6 in.

677 (1 of 2)

681

$300/500 681. Robert Henri (American, 1865-1929), “Study of Man and Open Book”, 1904, graphite on paper, embossed “R.H.” lower left, dated, stamped “Estate of Robert Henri, Hirschl & Adler, N.Y.C.”, inscribed “714H” and “Santa Fe East Galleries” en verso, 10 1/8 in. x 7 7/8 in., framed. $500/700 Provenance: Estate of Dr. Arnold and Helene Gerall, New Orleans and Chapel Hill, NC.

678

677. Elizabeth O’Neill Verner (American/ Charleston, 1883-1979), “Looking up Meeting Street” and “Springtime in Charleston”, two collagraphs on paper, both pencil signed and inscribed “repro.” lower right, “Chilton’s, Mobile, Alabama” labels en verso, 9 1/2 in. x 6 in. and 7 1/2 in. x 6 7/8 in. respectively, framed alike. (2 pcs.) $1000/1500

682

678. A Newcomb College Brass Mailbox, c. 1915, attributed to Alice Leigh Moise, hand wrought brass sheeting with cut out decoration of monogram “G” on a roundel flanked by scrolls, height 11 5/8 in., width 9 1/4 in., depth 2 1/4 in. $700/900 Note: Mailboxes of the same form are illustrated in Jessie Poesch, Newcomb Pottery and Crafts, fig. 3-6, p. 69, fig. 4-38, p. 168.

150

682. Ida Rittenberg Kohlmeyer (American/ Louisiana, 1912-1997), “Untitled #8”, c. 1960s, oil on canvas board, signed lower right, sight 10 3/4 in. x 8 1/8 in., framed. $1200/1800 Provenance: Private Collection, Atlanta, GA.

683. Everett Shinn (American/New York, 18761953), “At the Window”, pencil drawing on paper, unsigned, 4 1/4 in. x 7 1/4 in., framed with brass artist plaque. $800/1200 683

684. Douglas Bourgeois (American/ Louisiana, b.

1951), “Framed Study III”, 1988, spray paint, on paper, initialed “D.B.” and dated lower right, “Galerie Simonne Stern, New Orleans” label with title and medium en verso, sight 11 1/2 in. x 8 1/2 in., framed.

684

$800/1200 685. William (Bill) Ralph Dunlap (American/ Mississippi, b.

1944), “Trout Aquarelle VI”, 1998, paper pulp painting, signed lower right, titled lower left, “Susan Conway Gallery” label en verso, 12 3/4 in. x 18 1/2 in., framed.

685

688

688. Alexander Calder (American, 1898-1976), “Octopus (from “Our Unfinished Revolution)”, 1975, color lithograph on paper, pencil-signed lower right, numbered “168/175”, sheet 29 1/2 in. x 21 1/2 in., framed.

$2000/3000 W 686. William

(Bill) Ralph Dunlap (American/ Mississippi, b.

1944), “Rocks and Water II”, acrylic on board, signed lower right, titled and signed en verso, 7 7/8 in. x 13 5/8 in., framed.

687. John McCrady (American/Louisiana, 1911-1968), “Carnival in New Orleans”, lithograph on paper, pencil signed and titled lower margin, initialed in plate lower right, plate 8 3/4 in. x 12 in., sheet 10 1/4 in. x 13 7/8 in., unframed.

$700/900

$800/1200

$800/1200 687

Note: Reproduced in Mardi Gras Day illustrated by John McCrady, Caroline Durieux and Ralph Wickiser, New York: Henry Holt & Co., 1948.

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

151

690. A Fine Chitimacha River Cane Bowl Basket, probably Ada Thomas (1924-1992), single weave with red, yellow, black and natural cane, height 5 in., width 10 in., depth 9 in. $1000/1500 Provenance: Emily Cyr Bridges, Albania Plantation, Jeanerette, LA, c. 1987.

689

692

690

693

691. Five French .840 Silver Forks, late 19th c., marked “J/VERIN”, upturned fiddle thread pattern, reverse engraved script “SU” horizontally, length 8 3/8 in., weight 5.45 troy ozs. $1000/1500 Provenance: Collection of a New Orleans Gentleman; 2 exhibited in “A Visible Presence, A Legacy of Service: 275 Years of the Ursulines”, The Historic New Orleans Collection, May, 2003.

691

689. Jacques Villon (French, 1875-1963), “Composition”, color lithograph on paper, pencil-signed lower right, sheet 15 in. x 22 in., framed. $800/1200

692. A New Orleans Coin Silver Ladle, Hyde & Goodrich, wc. 18281861, marked “HYDE&GOODRICH” in rectangle, fiddle handle with upcurved terminal with midrib, broad flat bowl in the continental manner, length 13 3/8 in., weight 9.20 troy ozs. $500/750 Reference: Crescent City Silver, pp. 4-25.

693. A Charleston Coin Silver Salver, William H. Ewan, act. 18491859, marked “Wm H Ewan” in rectangle, circular with beaded border, flat chased well with monogrammed reserve, winged anthemion feet, diameter 6 3/8 in., weight 6.05 troy ozs. $500/750 Reference: Burton, E. Milby. South Carolina Silversmiths, 1690-1860, pp. 57-58.

152

695

696

695. An American Sterling Silver “Medallion” Pattern Flatware Service, c.

1870, Hotchkiss & Schreuder, Syracuse, NY, wc. 1850-1895, ret. by Mermod Jaccard & Co., St. Louis, MO, wc. 18731905; marked “H & S”, “STERLING” incuse and “MERMOD JACCARD & CO” incuse; comprising 6 tablespoons, length 8 5/6 in., 12 forks, length 7 3/8 in. to 7 5/8 in., 12 teaspoons, length 5 3/4 in., sugar shell, length 6 1/2 in., butter knife, length 7 7/8 in.; engraved script monogram MMB on the reverse upper handle, the medallion head is a young Dionysus, (32 pcs.)

694

694. A Missouri Coin Silver Presentation Cobbler Shaker, Jaccard & Co., St. Louis, founded 1829, marked “JACCARD & Co”, “ST LOUIS” and “COIN”; cover with presentation inscription “Capt. Geo. W. Atchison/St. Louis/MISSOURI/June 17th, 1857”, retains gilt wash interior, height 8 3/4 in., diameter 2 7/8 in., weight 11.70 troy ozs. $1000/2000 Note: Captain Atchison is described in Gould’s History of River Navigation as “... one of the pioneer boatmen on the Upper Mississippi. While not the first, he was early engaged in the navigation of steamboats. The Winnebago came out in 1830, in which he was interested with Captain Throckmorton ... built several of the best boats then afloat.” Atchison’s boats included the Irene, the Ione, the Glaucus, the Governor Dodge, the Amaranthe and the Missouri Belle. He is further described as “... one of the most genial and attentive masters to his passengers ... few boats are more popular than were Captain G.W. Atchison’s”.

The cobbler shaker presented here is for the preparation of an old form of mixed drink dating at least to the 1830s. It is made of spirits, sugar and fresh fruit shaken with ice and served with a straw (originally a reed). In Charles Dickens’ 1844 novel Martin Chuzzlewit, the title character is served a sherry cobbler.

Reference: Gould’s History of River Navigation, pp. 605-606.

Neal Auction Company would like to thank Sean D. Visintainer, Curator of Special Collections at the St. Louis Mercantile Library, for his assistance with this catalogue entry.

$1000/1500 696. A John Chandler Moore for Tiffany Young & Ellis Coin Silver Repoussé Water Pitcher, New York, NY, c. 1850, marked “TIFFANY, YOUNG & ELLIS/ J.C.M./ 18” Roman capital incuse, baluster form repoussé chased with stylized water lilies; applied molded lip band; cast handle with applied cat tails, height 10 1/4 in., weight 29.70 troy ozs.

697

$1200/1800 697. A Fine Neo-Grec Gorham Coin Silver Centerpiece, c.

1855-1860, with 1863 presentation inscription, chased tazza retaining gilt interior, plateau with ram’s head mounts, foliate scroll feet, height 15 in., diameter 14 in., weight 136.95 troy ozs. $7000/9000 W denotes the lot is illustrated at www.nealauction.com

153

699. A Set of Three Tiffany Sterling Silver Graduated Platters, pattern introduced 1901, marked “TIFFANY & Co./ 15126B MAKERS 507/ STERLING SILVER/ 9251000/m”, each shaped oblong with Neoclassical border and well, lengths 22 in., 19 in., and 17 in., combined weight 178.40 troy ozs. $6000/8000

698

699

700

698. A Fine Pair of American Sterling Silver Covered Vegetable Dishes, Theodore B. Starr, New York, wc. 1890-1925, oval with domed covers, foliate scroll decoration and handles, paw feet, height 6 in., length 11 1/4 in., width 7 1/4 in., weight 79.85 troy ozs. $2500/3500

700. An Extensive Durgin “Iris” Pattern Sterling Silver Flatware Service, pat. 1900; comprised of 12 each: dinner forks, dinner knives, luncheon forks, luncheon knives, salad forks, gumbo spoons, cream soup spoons, dessert spoons, ice cream spoons, teaspoons and flat butter spreaders; 6 fish forks, 9 fruit knives, 24 citrus spoons, 18 cocktail forks, 18 demitasse spoons, 9 pastry forks, 3 piece roast carving set, 5 tablespoons, asparagus serving fork, oyster ladle, cracker scoop, ice cream slice, pie trowel, large berry spoon, large pierced berry spoon, small berry spoon, vegetable serving fork, salad serving fork, cheese scoop, chipped beef fork, gravy ladle, sauce ladle, 2 flat master butter knives, pierced olive spoon, mustard ladle, 4 master salt spoons, pickle fork, horseradish spoon, sugar tongs, and sugar sifter (250 pcs.), combined weight (weighable) 290.50 troy ozs.; in a mahogany and burlwood fitted case, the coffer with fall front enclosing drawers, the integral stand with one drawer and cabriole legs, height 40 in., width 22 1/2 in., depth 17 1/4 in. $15000/25000

154

701. A Pair of Art Moderne Rock Crystal Lamps, graduated spheres, scrollwork and plinth base, height 25 1/2 in., width 6 3/4 in. $2500/3500 702. A Pair of EmpireStyle Silvered Bronze Two-Light Wall Sconces, torch form backplate with masque and floral reliefs, scrollwork and foliate candlearms, electrified, height 22 3/4 in., width 14 1/2 in., depth 6 1/2 in.

704 701

$1500/2000 703. A Fine Pair of English Carved Mahogany Hall Chairs, mid-19th c., each back with polychromed achievement of arms within an oval, gothicized crest, lion’s mask terminals, molded stiles, rectangular seats, curule legs centering a mask, paw feet. $800/1200

702

Note: This achievement of arms is associated with Craven County, North Carolina. It is a variant of the coat-of-arms of William, Earl of Craven, whose nephew William, Lord Craven, succeeded him as Lord Proprietor of Carolina.

705

704. A Regency or Federal Mahogany Armchair, c. 1800, rectangular crest rail above medial rail with three spherules, reeded stiles, conforming arms, urn form supports, trapezoidal seat frame, drop in cushion, ring-turned legs joined by intersecting stretchers, turned feet. Note: Restorations. $700/1000 Provenance: The Cedars, St. Francisville, LA. 705. A Venetian Carved Walnut “Grotto” Piano Chair, shell carved swivel seat, turned support, cabriole legs ending in paw feet, incurvate plinth base. $600/800 703 W denotes the lot is illustrated at www.nealauction.com

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706

706. A Pair of Venetian RococoStyle Carved, Paint Decorated and Gilt Bombé Commodes, early 20th c., serpentine tops, conforming case with small drawer and door flanked by shell carvings, on cabriole legs, yellow ochre ground, original gilt, height 32 1/4 in., width 28 1/2 in., depth 14 in.

709

707. A Hispano-Moresque Mother-of-Pearl and Inlaid Tea Table, 19th/20th c., top in the form of a ten pointed star, arched conforming paneled sides, straight legs, height 26 3/4 in., width 32 1/2 in.

$1200/1800

$1500/2000

707

708. A Louis XIV-Style Carved Giltwood Salon Table, late 19th c., shaped marble top, highly carved floral and diapered frieze, blocked tapered legs, incurvate stretcher base, blocked feet, height 30 1/8 in., width 52 3/4 in., depth 28 1/2 in. $2000/4000 709. A Fine Belle Époque Bronze and Onyx Figural Stand, late 19th c., square top with beaded molding, winged caryatid standard, plinth base, bracketed paw feet, height 34 in., width 20 1/2 in., depth 20 1/2 in. $2500/3500

708

156

710

711

712

710. A Pair of Directoire-Style Carved Crème and Verte Peinte Fauteuils, each paneled crest rail centered by lozenge, scrolled stiles, padded arms with anthemion, columnar uprights, conforming seat rail, turned tapered legs.

714

712. A Continental Marquetry and Parcel Ebonized Guéridon, 19th c., circular top, spiral turned standard, conforming molded plinth, ball feet, height 30 3/4 in., width 18 1/2 in. $1000/1500

$800/1200 W 713. A Victorian Polychrome and Gilt Black Lacquer

711. A Decorative Gilt and Patinated Bronze Figural Center Table, early 20th c., shaped glass top with foliate rosette, figural standard of Cupids, holding their attributes of a torch, a bow and a wreath respectively, on a stepped incurvate, faux marble plinth base with bronze mounts, height 30 3/4 in., width 34 1/2 in., depth 34 1/2 in. $800/1200 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

Shaving Mirror, Japonesque decoration, two drawers, square feet, height 21 1/2 in., width 22 1/4 in., depth 13 in. $400/600 714. An Antique Louis XVI-Style Kingwood Parquetry and Bronze-Mounted Commode, late 19th/early 20th c., the inset marble top with chamfered corners, conforming case, blocked feet, height 38 in., width 50 in., depth 20 1/2 in. $1500/2500

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

157

716

715

717 (1 of a pair)

717. A Pair of Antique French Papier Peinte Three Panel Screens, early 19th c., one side with gray ground and an arabesque design incorporating putti, sphinxes and floral vases, the reverse with repeating floral motifs, heights 73 1/4 in., and 74 1/4 in., widths 75 1/2 in.

718

715. Hans Zatzka (Austrian, 1859-1945), “Still Life with Flowers, Bird and Butterflies”, oil on canvas, signed lower left, “H.Zatzka fecit”, faint inscription in German en verso, 30 in. x 25 in., framed. $4000/6000 716. Robert Cauer (German, 1831-1893) “Portraits of a Lady and Gentleman”, 1864, marble, each inscribed “R. Caurer/ 1864”, 20 3/4 in. x 17 1/4 in., (2 pcs.) $1200/1800

158

$2500/3500 718. A Pair of Louis XIV-Style Patinated Bronze Figural Chenets, 19th c., putti over tapered Rococo standards, plinth bases, height 41 in., width 23 in., depth 15 1/2 in. $3000/5000

721

719

720

719. A Pair of Large Continental Polychrome and Gilt Porcelain Baluster Vases, late 19th c., reserved with courting couples on a celadon ground, height 23 1/4 in., diameter 8 1/2 in. $1500/2000 720. A Napoleonic Sèvres-Style Porcelain and Gilt Bronze-Mounted Covered Urn, 19th c., green ground with gilt accents, serpent handles, eagle finial, height 13 in., width 16 in., depth 10 in. $1500/2000

722

721. A Pair of French Empire-Style Cut Crystal and Gilt Bronze Covered Urns, Baccarat-style diamond point glass, swan handles, floral finial, plinth base, height 15 1/2 in., width 11 in., depth 8 in. $1000/2000 722. A Pair of French Empire-Style Gilt Bronze Seven-Light Candelabra, with foliate candlearms, columnar standard on tripodal base with paw feet, black variegated marble and gilt bronze incurvate triangular plinth, height 33 1/2 in., width 9 in. $2000/3000

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

159

724. A Belle Époque Gilt Bronze and Cut Crystal Nine-Light Chandelier, early 20th c., probably Baccarat, floral canopy, vasiform standard, crystal dish, the circlet cast with flowers, palmettes and lion’s masks, electrified, height 30 in., diameter 20 in. $1000/1500 723

724

723. A Belle Époque French First Standard Silver Chocolate Set, comprised of a chocolate pot, hot milk jug, covered sugar and creamer; tapered cylindrical forms with stylized chased decoration and beaded border, applied circular feet with beading above stylized foliate rim; covers with cast pineapple finials, wood handles and wood muddler for chocolate pot, height 9 1/4 in., muddler length 11 1/2 in., combined weight 67.35 troy ozs., (5 pcs.) $2500/3500

725

725. A Set of Four Louis XV-Style Gilt Bronze and Polychromed Porcelain Three-Light Sconces, scrollwork backplate, candlearms mounted with porcelain blossoms, height 25 1/2 in., width 17 in., depth 6 in. $3000/5000

160

727

726. A Marble Figural Group of a Couple Embracing, 20th c., on a marbleized pedestal, overall height 33 3/4 in. $3000/5000 727. A Continental Silvered and Gilt Bronze of an “Arab Brigand”, late 19th/early 20th c., cast with detachable rifle astride a camel, titled in French and numbered “13/200” on brass plaque, stepped marble base, overall height 17 in. $1000/1500

729

728. A Flemish Ebonized and Burlwood Inlaid Mirror, 19th c., ripple molded frame interspersed with burled panels, height 36 in., width 28 1/4 in. $800/1200 729. Émile Guillemin (French, 1841-1907), “Cavalier Arabe”, c. 1900, bronze, inscribed “Ele. Guillemin”, “Barye fils” and stamped “Fabrication français/ Paris/ Made in France” on base, height 31 1/2 in. $2000/3000

726

730

728

730. A Pair of Antique Continental Rococo Carved Giltwood Looking Glasses, 19th c., each arched crest surmounted by a full relief-carved female bust, rocaille frame with floral clusters, shell carved base, height 33 in., width 25 in. $2000/3000 W denotes the lot is illustrated at www.nealauction.com

161

732

732. Léonard Tsuguharu Foujita (Japanese/ French 18861968), “Chat Allongé”, c. 1930, aquatint, engraving and roulette, on chine collé on Japan support, from the series Les Chats, pencil-signed and inscribed “Épreuve d’artiste “I/J”, 11 1/4 in. x 14 in., sheet 17 1/4 in. x 19 7/8 in., framed.

731 (2 of 10)

$1500/2500 734 733. A Pair of Japanese Bronze Vases, Meiji Period (1868-1912), lobed globular bodies with tall flared necks with elephant mask handles on splayed bases, relief modeled with birds on flowering and leafy branches, bases marked, height 17 7/8 in. $1200/1800 733

731. Chinese Export School, probably 19th c., “Figural Garden Scenes”, ten paintings, each ink and color on paper, sight 6 1/4 in. x 10 1/8 in. $2000/3000

162

734. A Hardstone Embellished Gilt Bronze Mounted Rock Crystal Covered Alms Bowl, Kapala, probably Nepalese or Tibetan, ovoid body raised on three scroll feet, reticulated domed cover with “vajra” finial, embellished with emerald, seed pearl and coral gems, height 7 3/8 in., width 6 1/8 in. $1200/1800

735. A Napoleon III Alabaster and Marble Figural Mantel Clock, mid19th c., marble case surmounted by a carved alabaster sea nymph (after Antoine Coysevok), the whole on ball feet; gilt bronze dial, enameled Roman numerals and the maker’s name partially effaced, height 17 1/2 in., width 12 1/4 in. $800/1200

735

736

739

736. A Louis XV-Style Bronze-Mounted Vernis Martin Mantel Clock, c.

1890, cast dial with inset enameled Roman and Arabic numbers, marked by retailer “J.E. Caldwell & Co./ Philadelphia”, waisted case with gold ground, painted with flowers and dancing couple, mounted with dragons and an Asian figure holding a parasol, height 23 1/2 in., width 13 in., depth 6 in. $2500/3500 737. Harry Wilson Watrous (American, 1857-1940), “Girl with Chrysanthemum”, oil on artist board, signed lower right, titled on typed label en verso, 14 7/8 in. x 10 3/8 in., framed.

737

$1200/1800 W 738. Manner of Leopold Carl Muller (Austrian, 1834-1892),

“Ottoman Empire Sultan”, 20th c., oil on wood panel, unsigned, various labels and inscriptions en verso, 9 in. x 7 1/4 in., framed.

739. After Pieter Casteels III (Flemish, 16841749), “Ducks and Swans Beside a Waterway”, 18th c., oil on canvas, unsigned, 22 3/8 in. x 34 1/4 in., framed.

$600/800

$1500/2500

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

163

740

740. Johannes Boesen (Danish, 1847-1916), “A Coastal Vista”, 1911, oil on canvas, monogrammed and dated lower left, 25 1/2 in. x 39 1/2 in.

741

$1500/2500 741. A Large Pair of Chinese Famille Verte Porcelain Rouleau Vases, each decorated with landscape, floral, avian and animal reserves on a green ground, height 25 1/4 in. $1500/2000 742. A Chinese Famille Verte Porcelain Rouleau Vase, decorated with battling warriors on a green-washed ground, height 16 3/4 in., now mounted as a lamp, height to top of socket 23 1/4 in. $600/800

742

743

743. A Pair of Antique Carved Tropical Hardwood Fern Stands, possibly Jamaican, circular tops, reeded standards with beaded and foliate bases, arched legs ending in slipper feet, height 58 in., width 25 in., depth 12 in. $1000/1500 744. An American Classical Carved Mahogany Pier Table, early 19th c., Egyptian marble top, bolection molded frieze, scrolled supports, mirrored back, molded plinth base, height 34 1/2 in., width 40 in., depth 18 1/2 in. $1200/1800 744

164

747

747. A William IV Carved Mahogany Dressing Mirror, 19th c., arched mirror plate, scrolled supports, shaped base, paw feet, height 34 in., width 36 in., depth 13 in.

745

$200/400

746

748

745. An American Federal Carved Mahogany Candlestand, early 19th c., New York, cloverleaf tilt top, beehive turned standard, reeded scrolled legs, height 28 in., width 26 7/8 in., depth 19 in. $600/900 746. An American Classical Carved Mahogany Candlestand, 19th c., New York, cloverleaf tilt-top, boldly turned and reeded support, reeded splayed legs, brass hairy paw feet, casters, height 28 1/2 in., width 27 7/8 in., depth 22 1/2 in. $800/1200

749

748. An American Classical Carved Mahogany Pier Table, early 19th c., New York, rectangular marble top, inset arched frieze, columnar supports, mirror plate flanked by pilasters, incurvate stretcher shelf, acanthine lobed feet, height 37 in., width 35 in., depth 19 in. $1500/2500 749. A Pair English Victorian Lacquered and Gilt Music Room Chairs, mid-19th c., shaped crest rails, balloon backs, caned seats, turned legs, stretchers. $300/500

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

165

750

752

752. A Louis XVI Bronze-Mounted Kingwood Parquetry and Inlaid Poudreuse, 19th c., lift top with yew wood and boulle inlay, egg and dart surround, rosewood interior, bronze-mounted cabriole legs, height 28 in., width 22 in., depth 15 1/2 in. $500/750

751

753

750. A Georgian Inlaid Mahogany Huntboard in the Hepplewhite Taste, early 19th c., serpentine top, banded frieze, square tapered legs ending in spade feet, height 34 in., width 62 in., depth 28 1/4 in. $1500/2000 751. An English Carved and Burled Walnut Canterbury, mid-19th c., galleried bowfront top, four reticulated compartments, scrolled and turned uprights, base with drawer, turned legs, casters, height 40 in., width 24 1/2 in., depth 16 1/2 in. $600/800

754

166

753. A Continental or Biedermeier Carved Birdseye Maple Marquetry Fruitwood and Bronze-Mounted Guéridon, 19th c., top with radiating segments and geometric banding, frieze with three drawers, tapered stem, arched reeded legs ending in paw feet, casters, height 28 1/4 in., width 25 5/8 in. $1000/1500 754. A Chinese Relief Carved Giltwood Panel, rectangular form highly carved with figures and horses ascending a procession of stairs to an open pavilion, mounted on a fabric wrapped panel, overall height 18 in., width 14 in., depth 2 3/4 in. $800/1200 Provenance: Shreveport Collection, acquired China, c. 1978.

755. A Set of Four Chinese Polychrome Porcelain Inset Carved Wood Wall Hangings, probably Qing Dynasty (16441911), each rectangular panel with three tiles decorated with seasonal landscapes, figures and animals, each height 41 3/8 in., width 13 1/2 in., (4 pcs.) $3000/5000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. W 756. A Chinese

Scholar’s Rock, mottled creamy white stone naturalistically modeled with piercings and crevices, height 13 1/2 in., fitted wood stand, overall height 15 3/4 in. $300/500 755

757

757. A Monumental Chinese Bronze Tripod Censer, globular body with waisted flared neck raised on three Buddhist lion mask legs with detachable qilin and loose ring handles, height 13 in., width 15 in., raised on a footed circular plinth, overall height 16 3/4 in., width 15 3/4 in.

758

$1000/1500

758. A Napoleon III Bronze-Mounted Inlaid Walnut Figural Cabinet, mid-to-late 19th c., shaped top above a large door, centered by a “Sèvres” porcelain plaque, carved glazed doors to the sides, velvet-lined shelf interior, conforming blocked base, the whole extensively inlaid with light and dark woods and banding, height 43 1/2 in., width 71 1/2 in., depth 15 in.

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

$1500/2500

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759

761

760

760. A Pair of Paris Porcelain Bronze-Mounted Portrait Vases, 19th c., reticulated rim, céleste bleu ground, modeled with four medallions held by chains, the reserves painted with portraits of ladies and floral sprays, base cast with bellflowers and acanthus, height 15 1/4 in., width 7 1/4 in., depth 7 1/4 in. $1000/1500 Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL. 761. A Pair of Copeland Polychrome and Gilt Porcelain Figural Tazzas, probably mid-19th c., each reticulated bowl supported by three Classical figures on incurvate triangular base, height 8 1/2 in. $500/700 Provenance: Estate of Madelyn C. Kreisler.

762

759. A Pair of Italian Neoclassical-Style Parquetry Bombé Commodes, each with serpentine top above two short and two long drawers, molded base, cabriole legs, height 31 5/8 in., width 42 in., depth 18 in. $3500/4500

168

762. A Chinese Export Gilt Decorated Black Lacquer Box, early 19th c., rectangular body with canted corners and hinged cover raised on four winged paw feet, decorated with figural panels with elaborate buildings and gardens, height 5 1/4 in., width 15 in., depth 12 1/4 in. $300/500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

763. A Pair of Chinese Export Famille Verte Porcelain Covered Vases, hexagonal ovoid bodies decorated with butterfly-andflower panels and other floral motifs, domed hexagonal covers with Buddhist lion finials, height 11 1/4 in. $300/500 Provenance: Joel N. Weinstock Collection, New Orleans.

763

764 (1 of 3)

766

765

764. A Group of Three Continental Grand Tour Bronze Oil Lamps, 18th/19th c., in the forms of a grotesque mask, Nubian mask, and fish, tallest height 4 1/4 in. $800/1200 765. A Pair of Neo-Grec Patinated Bronze Three-Light Candelabra, each with Classical bust issuing from urn supported by opposing seated figures, tripartite base, claw feet, anthemion and guilloche design allover, height 22 in., width 9 in., depth 7 1/4 in. $800/1200

766. A Louis XVI-Style Brass Fireplace Garniture, including a fanform screen with urn and entwined snakes, and a pair of scrolled, floral chenets, screen height 31 1/4 in., width 47 in., depth 9 in., chenets height 19 1/2 in., width 10 in., depth 19 in. $700/900 W 767. French School, 19th c., “Vue du Bassin et de La Ville de

Bruges”, handcolored engraving, inscribed “H. Minderhout Print” lower left and “N le Mire Sculp” lower right, 20 1/2 in. x 26 in., matted and framed. $300/500 W 768. [Liber Chronicarum/Nuremberg Chronicle], a single folio

leaf, Plate 279, from Liber Chronicarum, 1493, German edition, with 3/4 page woodcut, matted in a two-sided frame, sheet 16 1/2 in. x 11 1/2 in. $500/700

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169

771

769

769. Eustache Herisson (French, 1759-1816), “Carte de l’Amérique Septentrionale et Meridionale...les trois Voyages de Cook, Mackenzie et Vancouver”, Paris, 1809, hand-colored engraved map, 20 1/2 in. x 30 1/8 in., matted and framed. $1500/2500 W 770. Jacques

Nicholas Bellin (French, 1703-1772), “Carte de la Floride, de la Louisiane...”, 1757, hand-colored engraved map from Histoire Generale des Voyages, 8 3/4 in. x 11 7/8 in.

773

772

$500/700

772. John James Audubon (American, 1785-1851), “Nuttall’s Starling”, “Yellow Headed Troopial”, “Bullock’s Oriole”, Plate 388, hand-colored aquatint with engraving, from The Birds of America, Havell edition, the elephant folio-paper watermarked “J.Whatman/1837”, sheet 38 3/4 in. x 25 7/8 in., framed. $800/1200

771. John James Audubon (American, 1785-1851), “Collared Peccary”, Plate 31, handcolored lithograph from The Viviparous Quadrupeds of North America, sheet 21 1/2 in. x 26 3/4 in., matted and framed.

773. John James Audubon (American, 1785-1851), “Swift Fox”, Plate 52, hand-colored lithograph from The Viviparous Quadrupeds of North America, sheet 21 3/4 in. x 26 5/8 in., matted and framed. $1200/1800 774. John James Audubon (American, 1785-1851), “White-Eyed Flycatcher”, Plate 63, hand-colored aquatint with engraving, from The Birds of America, the elephant-folio paper watermarked “J.Whatman/Turkey Mill/1828”, sheet 38 1/4 in. x 25 in., framed.

$1500/2000

$1000/1500

774

170

775. A Group of Seven Autograph Letters Signed

by Henry Clay, 1820-1848, including letter signed to his sister, dated from Washington, 4 March, 1820; letter signed to Martin Duralde, Esq., dated from Washington, 8th August, 1827, declaring “that Genl. Jackson has at last taken the field against me...I anticipate an easy victory”; two letters of introduction for William C.C. Claiborne, Esq., of N. Orleans, dated from Ashland 22nd Sept., 1845; letter to William C.C. Claiborne, Esq., dated “On Board the Bunker Hill, Mississippi River, 4th Dec., 1846, informing Claiborne that he has his horse on board and will deliver it to N. Orleans; letter to William C.C. Claiborne, Esq., dated from Ashland 7th Aug. 1846, talking about politics, gardening and an unbroken horse; letter to William C.C. Claiborne, Esq., dated from Ashland 29th Sept. 1848, talking about the “melancholy event of the death of Mr. Duralde”. $3000/5000 Note: Henry Clay, the celebrated Kentucky statesman, was a contemporary of W. C. C. Claiborne. In fact the two families were intimately connected. Claiborne was married to Clarisse Duralde, daughter of Martin Duralde, and Clay’s brother John was married to her sister, Julie.

Additionally, Clarisse and Julie’s younger brother, Martin Duralde, Jr. eventually married Henry Clay’s daughter, Susan Hart Clay. These three families were powerful in the New Orleans community and the United States. Clay, in particular, is noted for his political career, serving as a United States Senator, Representative, Speaker of the House of Representatives, and Secretary of State. He tried and failed to reach the White House in four elections.

William Charles Cole Claiborne, Jr., was son of the famed Governor of Louisiana. Following in his father’s footsteps, he too entered politics in Louisiana. He served as Secretary of State of Louisiana from 1837-38 and as Speaker of the House of Representatives of Louisiana from 1842-43.

775

776

776. [Signed Copy of Gone with the Wind], Mitchell, Margaret, New York, The Macmillan Company, 1936, first edition, first printing, inscribed on front free endpaper “For Aunt Clara/ With love/ from/ Margaret Mitchell/ June 29, 1936”, original gray cloth with first state dust jacket, accompanied with a three-lined note signed “Margaret and John Marsh” in Mitchell’s hand, probably also to her Aunt Clara. $4000/6000 776A. A Polychrome Plaster Bust of Henry Wadsworth Longfellow (1807-1882), 19th/20th c., after the 1884 marble bust by Sir Thomas Brock (British, 18471922) in the Poets’ Corner, Wesminister Abbey, height 32 in., width 25 in. $1000/1500

776A

Note: Henry Wadsworth Longfellow was an American poet, best known for his poems Paul Revere’s Ride, The Song of Hiawatha, and the beloved Acadian saga Evangeline. He was one of the five Fireside Poets and translated Dante Alighieri’s The Divine Comedy. The plaster bust offered here is a replica of Sir Thomas Brock’s monumental marble sculpture of Longfellow, installed in the Poets’ Corner in Westminster Abbey in 1884. The inscription at the base of the marble bust reads:”LONGFELLOW. This bust was placed amongst the memorials of the poets of England by the English admirers of an American poet.”

References: “Henry Wadsworth Longfellow.” Westminster Abbey www.westminster-abbey.org. Accessed Oct. 24, 2014.

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777. Frederick Volck (Austrian, 1833-1891, active Baltimore, 18601866), “Bust of Robert E. Lee”, 1863, bronze, inscribed “Frederick Volck/ Richmond, VA/ 1863” on rear central support, black marble base, height 17 1/8 in., overall height 19 1/8 in. $4000/6000 Note: Frederick Volck, an accomplished German sculptor and Confederate supporter, was active in Maryland and Virginia from the 1860s-1880s, often working in tandem with William Henry Rinehart. In 1875, Volck was appointed “Art Commissioner of the German Empire to the American Centennial”. Volck is best known for his numerous portrait busts of Civil War heroes, including Stonewall Jackson, Robert E. Lee, Jefferson Davis, and later Ulysses S. Grant and William Prescott Smith.

In 1863, Volck was commissioned by the Confederate War Department in Richmond, VA to sculpt a bust of General Lee to commemorate the Confederate victory at the Battle of Chancellorsville.

Shortly after Lee sat for him, Volck returned to Germany to begin casting the bust and the equestrian statue of Stonewall Jackson on which he was also working. The lack of bronze in U.S. foundries and the collapse of the Confederacy prevented Volck from returning to the U.S. until 1866. When Volck’s bust of General Robert E. Lee was finally unveiled in the city of Lexington, VA in January of 1866, both Lee and the numerous citizens, who gathered to view it, pronounced the model “a complete success,” a veritable “chef d’oeuvre!”

After Volck’s visit to Lexington, he traveled to Baltimore, where he had a select number of patinated bronzes made from the original bust. In 1894, one of these bronzes was purchased by the Society of the Army and the Navy of the Confederate States in Maryland for the “Maryland Room” in the South’s Museum—Jefferson Davis’ former mansion in Richmond.

References: Brock, Robert Alonzo, ed. “Dedication of the South’s Museum,” Southern Historical Society Papers 22 (1894): 374; “Bust of Gen. Lee.” Richmond Whig Jan. 23, 1866: 4; “A Bust of Lee Presented to Memorial Hall, Richmond, by the Confederate Society of Maryland.” Baltimore Sun Feb. 11, 1896: 10; “Art Notes.” Baltimore Bulletin April 10, 1875: 1.

777

778. Angela Gregory (American/New Orleans, 1903-1990), “Bust of John McDonogh”, 1934, terracotta painted plaster, artist’s name and date inscribed on reverse, height 34 in. $3000/5000 Note: Angela Gregory, widely considered the doyenne of Louisiana sculpture, became adept at clay modeling and relief casting by the young age of fourteen, while taking summer classes at Newcomb College. She entered Newcomb in 1921 and also studied with the sculptor Albert Reiker at the Arts and Crafts Club.

In 1925, Gregory received a scholarship to the Paris branch of the Parson’s School of Fine and Applied Art, which allowed her to study in France and Italy. During her time in France, Gregory entered the studio of the sculptor Émile-Antoine Bourdelle, himself a former student of the great French master Auguste Rodin.

From 1926 to 1928, Gregory was the only American accepted into Bourdelle’s studio, and her sculpture was exhibited at the Salon des Tuileries. When Gregory returned to New Orleans in 1928, her work received immediate recognition. She received many important sculpture commissions, including works for the Louisiana State Capitol, Tulane Medical School, New Orleans Criminal Courthouse, St. Gabriel’s Catholic Church in St. Gabriel, Louisiana, First National Bank of Commerce, the Union Passenger Station in New Orleans and many other locations. She gained a national and international reputation for her work. The prominent sculptor Harriet Frishmuth recommended her for membership in the National Sculpture Society, one of the few women to have that honor.

778

172

The rare plaster bust, offered here, clearly indicates the artist’s classical studies within the nineteenth century French aesthetic developed by Auguste Rodin. The model for the bronze sculpture of John McDonogh (unveiled in 1938), is now conserved in Duncan Plaza, New Orleans. John McDonogh (1779-1850) built a large fortune in shipping and land holdings and was said to have the largest number of acres under private ownership in the nation in 1850. After losing a Senate race, he moved from New Orleans to the west bank of the Mississippi and established the town of McDonoghville, now called McDonogh. He left the bulk of his fortune to the cities of New Orleans and Baltimore for the building of schools for under-privileged children. Over thirty schools were built in New Orleans, most named after him, and several still bear his name today.

779. A Pair of French NeoGrec Patinated and Gilt Bronze Vases, 19th c., after the F. Levillain (French, 18371905) model, cast

by F. Barbedienne, amphora shape, figural reserves of scenes from antiquity, bucranium swags and anthemion surround, tripartite base on paw feet, height 12 1/4 in. $1200/1500 779

780

781

780. A Pair of Louis Philippe-Style Gilt and Patinated Bronze Four-Light Candelabra, columnar standard with acanthus relief, central tôle candlearm with three foliate and scrollwork candlearms, paw feet, incurvate triangular plinth base, height 23 1/2 in., diameter 9 1/2 in. $1200/1800 781. A Belle Époque Giltwood and Tôle Peinte Twelve-Light Chandelier, with acanthus and gadroon carving, foliate arms, palmette bobêches, bud pendant, electrified, height 43 in., width 33 in. $1500/2500

782

783 (1 of a pair)

782. An English Gilt Brass and Bronze Sinumbra Lamp, mid-19th c., probably Messenger and Sons, Birmingham, font with reticulated band, columnar standard, plinth base, cut and etched glass shade, overall height 32 in., diameter (with shade) 13 in. Note: Retains traces of silvered surface.

783. A Pair of Chippendale-Style Giltwood Mirrors, each reticulated crest surmounted by ho-ho bird, height 54 in., width 31 in. $800/1200 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

$1000/1500

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784

787

786. A Pair of Chinese Iron Mounted Blue and White Porcelain Jars, ovoid bodies decorated with a procession of armoured warriors and nobles in a landscape, bases with double ring marks, flat iron covers with strap handles, locks and keys, height 17 1/2 in. $1500/2500

786

785 784. A Pair of Chinese Famille Rose Porcelain Vases, probably early 20th c., ovoid bodies and tall flared necks with lion mask ring handles, decorated in mirror image with a group of female figures at leisurely pursuits in an outdoor garden, height 16 1/2 in., now mounted as lamps, height to fixture 19 1/4 in.

787. A Pair of Chinese Coral, Lapis and Turquoise Embellished Patinated Bronze Figural Vases, probably 20th c., each modeled as the figure of a caparisoned elephant carrying a trumpet form vessel on its back, height 9 7/8 in., width 8 5/8 in., fitted wood bases set on carved wood stands bearing Qianlong marks, overall height 16 in., width 10 3/4 in., depth 7 3/8 in. $2000/3000

788

$500/700 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 785. A Pair of Chinese Famille Jaune Jardinières, U-form bodies with everted rims, decorated with potted plant roundels on a lemon yellow ground with leafy foliage and flowers, height 7 1/8 in., diameter 10 3/8 in., wood stands, overall height 9 1/8 in. $1000/1500

174

788. A Chinese Gilt Bronze and Cloisonné Enamel Bottle Vase, probably 20th c., ovoid body and tall trumpet neck mounted with a pair of writhing bronze dragons pursuing the flaming pearl, base with Qianlong mark, height 21 1/8 in., conforming stand, overall height 23 1/8 in. (2 pcs.) $3000/5000

789

789. A Pair of Chinese Gilt Bronze and Cloisonné Enamel Figures on Stands, each kneeling male figure modeled in mirror image with one arm raised in the air, height 7 1/2 in., conforming waisted lotus stands, overall height 10 1/4 in.

790

$2500/3500 790. A Large Chinese Qilin Form Bronze Censer, modeled seated on its haunches with its neck twisted over its back side, removable back section, height 21 3/4 in., width 19 1/2 in. $4000/6000 791. A Chinese Coral Figure of a Celestial Beauty, elegant standing figure carved wearing long flowing robes and elaborately knotted hair tied with beaded ribbons holding a small statue of a seated Buddha in her right hand, height 7 in., wood stand, overall height 8 in. $1000/1500

792

791

792. A Chinese Coral Figural Group, primary upright branch carved with the figure of Shoulao holding a peach in one hand and a staff in the other beneath a tree with a crane at his side and a deer at his feet, secondary forking branch carved with the figure of a maiden, height 8 3/4 in., width 7 in., wood stand, overall height 8 3/4 in. $2000/3000

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

175

794. A Pair of Chinese Celadon Jade Figures of Phoenix Birds, each carved in mirror image standing atop an old gnarled tree stump, height 10 3/4 in., wood stands, overall height 11 1/4 in. $1200/1800 795. A Chinese Jadeite Covered Vase, 20th c., green, white and russet stone carved as a flattened vase and cover covered in a profusion of fruiting and flowering vines with crickets and a butterfly, height 8 1/4 in., width 6 1/4 in.

793

795

$800/1200 W 796. A Chinese

Jadeite Model of a Potted Plant, 20th c., lavender, green and white stone carved as a basket issuing various foliage and flowers, height 6 3/4 in., width 6 in., wood stand, overall height 8 in. $400/600 797. A Pair of Asian Brass Reflectors, curving shield-form bodies centered by horned dragon’s heads raised on columnar standards with dragon’s head terminals, height 28 3/4 in., width 19 3/8 in.

794

$700/900 798

793. A Pair of Chinese Bronze and Cloisonné Enamel Vases, ovoid bodies with flared necks and splayed feet inset with bronze cartouches relief modeled with figures in landscapes, bases marked, height 14 1/8 in. $1500/2000

798. A Chinese Pale Celadon and Russet Jade Ram Group, finely carved as a ram atop a rocky ledge above a ewe resting beside lingzhi sprays, height 5 3/8 in., width 3 in., fitted wood stand, overall height 6 1/2 in. $600/800 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

797

176

799. A Near Pair of Chinese Bronze Octagonal Censers, probably early 20th c., tapering faceted bodies with waisted necks, everted rims and upright zoomorphic loop handles raised on four Buddhist lion mask and paw feet, relief cast around the sides with figures in landscapes and birds on branches, height 10 5/8 in., width 17 1/4 in.

801 799 (1 of a pair)

$700/1000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 800. A Chinese Coral Figural Group of the He He Erxian Twins, two distinct forking branches carved with the figure of a young boy grasping the trunk of an old gnarled peach tree beside a larger branch carved as a leafy trunk with exotic birds, peaches and flowers, height 5 3/4 in., width 7 1/4 in., wood stand, overall height 7 1/4 in.

804 800 W 803. A Chinese Jadeite Covered

$2000/3000

Vase, 20th c., mottled pale and dark green and white stone carved in lobed bottle-form with zoomorphic handles and a pair of confronting Buddhist lions, conforming domed cover with a Buddhist lion finial, height 6 in.

801. A Chinese White Jade Inset Cloisonné Enamel Box, rectangular body decorated with carp in a lotus pond, hinged lid inset with floriform plaque carved with an egret amid lotus, height 1 3/4 in., width 2 7/8 in., depth 2 1/2 in.

$400/600 804. A Chinese Jadeite Covered Vase, 20th c., mottled green and white stone carved as a flattened bottle vase with stylized dragon handles and archaistic motifs, conforming domed cover, height 7 in., width 4 1/8 in. $400/600

$700/900 W 805. A Chinese Celadon Jade

802 802. A Pair Chinese Famille Rose Decorated Turquoise Ground Vases, bottle-form bodies with molded stepped necks, waisted mouths and waisted splayed bases, decorated with vining flower heads, bases with apocryphal Qianlong marks, height 8 1/8 in. $600/800

Figure of a Bull, grayish green stone carved as a recumbent beast, height 3/4 in., width 2 5/8 in., wood stand, overall height 1 1/2 in., width 3 in. $150/250 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

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809

813

W 806. A

W 812. A Suite

Chinese Celadon and Russet Jade Figure of a Qilin, recumbent beast carved with its head turned over its back side, height 7/8 in., width 2 1/2 in., wood stand, overall height 1 5/8 in., width 2 3/4 in.

of Four Japanese Bone and Mother-ofPearl Applied Red and Black Lacquer Panels, rectangular panels with applied birdand-flower decoration on a black ground surrounded by stenciled foliage on a washed red ground, sight 45 7/8 in. x 20 5/8 in., framed alike.

$150/250 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

$300/500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

W 807. A

Chinese Archaistic Hardstone Scepter, carved as a long curving shaft terminating in a dragon’s head, height 3 in., width 13 1/4 in., wood stand, overall height 4 1/2 in. $150/250 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. W 808. A Near Pair of

Chinese Bronze Jardinières, probably 20th c., flaring hexagonal bodies relief cast with mythical birds and beasts on a dense wave ground, raised on six zoomorphic mask feet, bases marked, height 7 5/8 in., width 12 in. $400/600 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

178

814

809. A Chinese Celadon Jade Box, shaped rectangular form finely reticulated on the long sides with auspicious emblems on a pierced diaper ground, short ends with pierced knops, height 3 1/4 in., width 1 3/8 in. $400/600

813. A Pair of Chinese Blue and White Porcelain Jardinières, octagonal bodies with wide barbed rims raised on eight shaped feet, decorated with birds in exotic landscapes, height 8 1/2 in., width 16 1/2 in.

815

$1000/1500

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. W 810. A Chinese Mottled Green and White

Jade Lotus-Form Brush Washer, carved as a furling lotus leaf borne on a lotus stem bearing a small pod and a leaping fish, height 1 5/8 in., width 6 3/4 in., depth 5 1/4 in., wood stand, overall height 5 1/4 in. $200/300

814. A Chinese White Glazed Vase, probably 20th c., ovoid body with waisted tall neck and flared rim, molded with figures of dragons in pursuit of the flaming pearl on a dense cloud scroll ground, base with Qianlong mark, height 15 1/4 in. $1000/1500

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

$150/250

815. A Chinese Polychrome Porcelain Table Screen, probably 20th c., rectangular panel decorated with a cricket and flowering branches, sight 21 in. x 12 in., framed and mounted in a hardwood stand as a table screen, overall height 31 1/2 in., width 18 1/8 in., depth 8 in.

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

$800/1200

W 811. A Chinese Green Jade Figure of a Horse,

mottled green and russet stone carved as a recumbent beast with one leg raised as if to stand, height 7 1/4 in., width 11 in.

816. A Pair of Chinese Famille Rose Porcelain Vases, probably 20th c., tapering bodies with waisted flared necks and foliate rims with pairs of confronting Buddhist lion handles, decorated with figures in a landscape, height 22 3/4 in. $1000/1500 817. A Chinese Famille Rose Decorated Mazarine Blue Porcelain Jardinière, probably 20th c., compressed globular body with waisted foot and neck and applied mask ring handles, decorated with figural panels on a blue ground with gilt highlights, base with Yongzheng mark, height 11 in., width 15 1/2 in.

816

$600/800 818. Chinese School, “Figures Celebrating inside a Pavilion”, ink and color on silk, inscribed and sealed upper left, 64 1/2 in. x 21 3/4 in., framed. $1000/1500 W 819. A Pair of

Large Chinese Yellow Glazed Porcelain Vases, bottle-form bodies covered overall in a brown streaked, mustard yellow glaze, height 18 1/4 in. $800/1000 W 820. A Large Chinese Famille

Rose Porcelain Bottle Vase, probably 20th c., globular body and tall neck with sinuous qilong handles and downturned ruyi rim, decorated with scenes of boys at play, base with Qianlong mark, height 23 in. $1000/1500 W 821. A Group of Four Chinese

Famille Rose Porcelain Plaques, each rectangular tile decorated with figures in a landscape, height 21 7/8 in., width 6 3/4 in. $600/800

817

818

W 822. A Pair of Chinese “Peach

Bloom” Glazed Porcelain Water Droppers, apple form bodies with green and mushroom speckled copper red glaze, bases with apocryphal Kangxi marks, height 3 3/4 in., width 4 3/8 in. $500/700 823. A Pair of Japanese Bronze Figural Candle Holders, each modeled in mirror image with the figure of a partially robed man holding a large bell in one hand and a lotus-form candle holder in the other, height 13 5/8 in., width 5 3/8 in., depth 4 1/4 in. $500/700 Provenance: Joel N. Weinstock Collection, New Orleans.

823

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179

W 828. A Chinese

Hardwood Desk, rectangular paneled top on straight square legs, two small drawers flanked by two larger drawers, stretchered footrest with reticulated lattice motif, height 33 in., width 49 1/4 in., depth 25 1/4 in. $800/1200

825

829

829. A Chinese Carved Hardwood Open Armchair, probably 19th/20th c., sloping back rest carved with an upper and lower frieze of openwork prunus branches, curved armrests on prunus branches, shaped seat, prunus carved apron, straight turned legs, upturned toes, stretcher, height 39 5/8 in., width 23 in., depth 18 1/4 in. $600/800 Provenance: Estate of Dorothy Mintz (1920-2014), New Orleans, LA, acquired Judy Fox Antiques, Portobello Road, London.

826

W 824. A Large Japanese Bronze Covered Urn,

probably early 20th c., bulbous body with lion head handles and dragon head spigot raised on a splayed circular foot, cast with archaic decoration, cover with shishi finial, height 27 in. $600/800 825. A Pair of Japanese Bronze Covered Jars, Meiji Period (1868-1912), ovoid bodies cast in high relief with birds amid flowering prunus, conforming domed covers surmounted by figures of a kirin, footed circular bases, height 16 1/4 in.

830

$1500/2000 W 827. A Chinese Mother-of-Pearl Inlaid

826. A Pair of Gilt Bronze and Brass Mounted Japanese Satsuma Pottery Kerosene Lamps, probably late 19th/early 20th c., ovoid bodies decorated with various figural scenes, bronze foliate bases, brass oil fittings marked “R. Ditmar” for Rudolf Ditmar, Vienna, height 21 in. $1500/2000

180

Hardwood Vitrine, 20th c., rectangular case inset with glass top and three glass sides, one long side inset with hinged panels opening to fitted slide interior, two short side drawers, straight legs terminating in block feet, height 32 1/4 in., width 60 in., depth 25 1/4 in. $800/1200

830. A Japanese Brass-Mounted, Maki-e Lacquer Inset Mixed Woods Inlaid Hardwood Cabinet-onStand, Meiji Period (18681912), rectangular upper case with two doors opening to Maki-e interior with six drawers, over one long drawer; stand with shaped apron over straight legs, X form stretcher, height 57 1/8 in., width 35 1/4 in., depth 17 1/8 in. $1000/1500 Provenance: Estate of Dorothy Mintz (1920-2014), New Orleans, LA.

W 831. A

Japanese Lacquer Side Table, scalloped gallery top decorated with bats and flower heads, shaped apron, cabriole legs, height 17 1/2 in., width 17 1/2 in.

835

$600/900 Provenance: Joel N. Weinstock Collection, New Orleans.

832

837

W 834. An Anglo-Indian Hexagonal Low Table,

early 20th c., with intricate bone inlay overall, arched skirt, straight legs, stretchers, height 18 3/4 in., width 18 1/4 in., depth 17 3/4 in. $300/500 835. An English Brass-Mounted Mahogany Campaign Chest, 20th c., two over three graduated drawers, turned feet, height 42 1/4 in., width 38 7/8 in., depth 18 in.

833

832. A Chinese Hardstone Embellished Carved Wood Floor Screen, probably late 19th/early 20th c., rectangular lacquered panel painted with cloud scrolls and embellished with hardstone antiques and Buddhist emblems, reverse painted with a landscape, sight 42 1/2 in. x 28 in., framed and set within a hardstone embellished carved wood stand, overall height 63 in., width 39 1/2 in., depth 19 in. $4000/6000

$700/1000 Provenance: Estate of Major Philip St. George Ambler IV. W 836. A Georgian-Style Carved Mahogany

Library Step, 20th c., spiral leather treads, turned legs, bamboo-turned upright with brass finial, height 45 in., width 21 1/2 in. $200/300 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

833. A Set of Four Antique Anglo-Colonial Rosewood and Cane Armchairs in the Regency Taste, reeded backs with square caned panels, reeded arms, trapezoidal caned seats, reeded tapered legs.

837. American School, 19th c., “Still-Life with Fruit, Wine Carafe, Vase and Bowl”, oil on canvas, partially visible “Ernest...” signature lower right, 25 in. x 36 in., framed.

$1000/1500

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838

839

841. After “Raphael” Raffaelo Sanzio (Italian, 14831520), “Madonna della Seglio, (c.

1513-1514)”, 19th c., oil on canvas, unsigned, 18 1/2 in. x 18 1/2 in., framed. $1000/1500

841

840

838. George Fuller, A.N.A. (American, 18221884), “The Toiler”, oil on canvas, signed lower left, titled on brass plaque, artist information typed on label en verso, 18 1/4 in. x 26 1/4 in., framed.

$700/900

$1200/1800 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 839. Continental School, mid-19th c., “Fisherman in the Port of Tivoli”, in the Manner of Charles François Grenier de Lacroix, oil on canvas, unsigned, 24 1/2 in. x 34 3/8 in., period frame. $2000/3000 840. Continental School, 19th c., “Portrait of a Young Beauty in Period Dress”, oil on canvas, unsigned, 24 3/4 in. x 19 3/4 in., period gilt frame. $1000/1500

182

842. Louis Silas (British, 19th c.), “Floral Still Life”, oil on canvas, signed lower right, stamped “Prepared by Roberson & Co./ Long Acre, London” en verso, 39 1/4 in. x 33 1/8 in., period frame.

842

843

844

846

843. A Pair of Neoclassical-Style Bronze Covered Urns, with seedpod finials, ram’s head handles, bodies cast with Classical friezes, tall pedestal base, height 31 1/2 in., diameter 14 in. $800/1200 844. A Pair of Paris Porcelain Jardinières, mid-19th c., square with pineapple finials, gilt ground, reserved with polychrome floral bouquet, height 7 3/4 in., width 5 1/4 in., depth 5 1/4 in. $800/1200 845. An English Gilt and Patinated Bronze Umbrella Stand, 20th c., in the form of 3 boots with rope encircling the shaft, height 32 in. $1000/1500 846. A Fine Antique Persian Carpet, light brown ground, navy blue stylized central medallion, navy blue floral border, 8 ft.5 in. x 12 ft. 3 in.

847

$2000/3000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

845

847. A Fine Persian Kashan Carpet, navy blue ground, floral central field, navy and light blue floral border, 8 ft. 10 in. x 12 ft. 4 in. $4000/6000 W denotes the lot is illustrated at www.nealauction.com

183

848

850

848. An Antique Persian Kashan Carpet, scarlet ground, overall stylized floral pattern, navy blue border, 16 ft. 4 in. x 10 ft. 6 in. $1200/1800 849. An Antique Indian Agra Carpet, crimson ground, scrollwork floral cream corners, stylized floral geometric border, 8 ft. 7 in. x 18 ft. 3 in. $2000/3000 850. A Fine Palace Size Antique Persian Serapi Carpet, crimson and cream ground, central radiating floral medallion, geometric écoinçons, bold floral vine border on a navy ground, 18 ft. 8 in. x 11 ft. 7 in. $10000/15000 W 851. An Antique Kazak Runner, red and brown ground, repeating

medallions, 3 ft. 4 in. x 7 ft. 10 in. $500/800

849

184

852. An Antique Kazak Rug, red ground, repeating design, 4 ft. 7 in. x 8 ft. 7 in. $800/1200 Provenance: Acquired from Rejebian & Son Oriental Rugs and Antiques, Dallas, TX, 1987.

W 853. An

Antique Shirvan Carpet, tan ground, navy blue geometric central medallion, stylized floral border, 4 ft. 8 in. x 6 ft. 6 in. $500/800 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 854. An Antique Heriz Carpet, red ground, central star medallion, blue corner brackets, polychrome floral border, 8 ft. 8 in. x 11 ft. 11 in.

855

852

$2000/3000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 855. An Antique Persian Silk Rug, navy blue ground, geometric central medallion, burgundy border, overall floral motif, 4 ft. 3 in. x 6 ft.

6 in. $1200/1800 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

856

856. An Antique Persian Serapi Carpet, cream ground, geometric central medallion, salmon border, overall stylized floral motif, 6 ft. 6 in. x 8 ft. 9 in. $2500/3500 854 W denotes the lot is illustrated at www.nealauction.com

185

W 861. An Antique

Bordjalou Kazak Rug, early 20th c., blue field, 3 ft. 2 in. x 6 ft.

2 in. $700/1000 Provenance: Acquired from Rejebian & Son Oriental Rugs and Antiques, Dallas, TX, 1988.

862. A Persian Sultanabad Carpet, light camel ground, overall stylized floral motif, stylized polychrome floral border, 12 ft. 8 in. x 15 ft. 11 in. $14000/18000 858

857

857. A Large Palace Size Kerman Carpet, cream colored ground, polychrome floral central medallion, polychrome floral border, 27 ft. 7in. x 12 ft. 1 in. $2500/5000 858. A Persian Tabriz Carpet, light camel ground, overall stylized floral motif, polychrome paisley and floral border, 9 ft. 7 in. x 12 ft. 11 in. $2500/3500 W 859. A Persian Lilihan Carpet, light brown

ground, overall floral motif, terracotta and blue border, 6 ft. 4 in. x 9 ft. 9 in. $1800/2500 W 860. An Antique Persian Soumak

Carpet, crimson red ground, central field with repeating navy blue diamond pattern, geometric borders 10 ft. 9 1/2 in. x 6 ft. 1 1/2 in. $1000/1500

186

862

864 865. An Art Nouveau Inlaid Fruitwood Occasional Table, late 19th c., marked in script “Emil Gallé Nancy”, shaped oval, two tiers, tapering splayed legs, height 31 in., width 34 1/2 in., depth 24 1/2 in. $800/1200 866. Attributed to Sir Thomas Lawrence (British, 1769-1830), “Portrait of Charles Barrington”, oil on canvas, c. 1790-1800, titled on artist plaque on frame, 22 in. x 20 in. oval, framed.

863

866

$2000/3000

865

863. A Persian Heriz Carpet, red ground, geometric central medallion, dark navy blue stylized border, 9 ft.

4 in. x 12 ft. 8 in. $4000/6000 867 864. A Pair of Victorian Inlaid, Burled Walnut and Needlepoint Upholstered Tuffets, mid-19th c., domed tops, circular bases, carved faux “ivory” scalloped spherical feet, height 3 5/8 in., diameter 11 in. $600/800

867. Edmund Thornton Crawford (British, 1806-1885), “Scottish Coastal Scene”, 1862, oil on canvas, signed and dated lower left, 19 in. x 30 in., original frame. $2000/3000

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

187

869. Henry Emerson Tuttle (American, 1890-1946), “Crows”, etching, pencilsigned, 7 3/4 in. x 5 3/4 in., framed; “American Eagle”, etching, pencil-signed, 11 1/2 in. x 14 in., framed; and “Spirit of the Swamp (Egret)”, etching, pencil-signed, 8 3/4 in. x 11 3/4 in., framed, (3 pcs.) $400/600 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

869 (1 of 3) 868

870. George Rodrigue (American/Louisiana, 1944-2013), “Pete Fountain: New Orleans Jazz and Heritage Festival”, 1996, silkscreen print, pencil-signed lower left, inscribed “2028/3000” lower right, 36 in. x 21 3/4 in., framed. $1000/1500 871. A Pair of Continental Carved and Polychromed Wall Plaques of Roman Helmets, 19th c., with plumed crest, height 18 1/2 in., width 13 in. $600/800

871

870

868. William Strang (Scottish, 1859-1921), “Portrait of Rudyard Kipling”, etching, pencilsigned “Wm.Strang” lower right and “David Strang/imp” lower left, 13 7/8 in. x 9 7/8 in., matted and framed. $300/500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

188

872. A Pair of Louis XVI-Style Gilt and Patinated Bronze and Porcelain Urns, each amphora surmounted by branches, with applied polychrome porcelain flowers, fitted on cherub monopod support, incurvate triangular base, toupie feet, height 18 in., diameter 10 in. $1000/2000

872

873. A Pair of Louis XVI-Style Cast Gilt Bronze Chenets with Fireguard, late 19th c., urn form standard with garlands and lion mask, balustrade fireguard, height 14 1/2 in., width 45 in., depth 8 in. $700/1000 Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL. 874. A Set of Four Continental Cast Iron Garden Urns, 19th c., fluted and gadrooned bodies, plinth base, height 20 in., diameter s15 1/2 in.

873

$400/600 Provenance: Chestnut Hill, PA. Collection.

W 875. A Set of

Three Derby “Imari” Porcelain Garniture Urns, 19th c., floral design with scrollwork handles, largest urn height 8 in.; together with a Bloor Derby polychrome and gilt porcelain mug, mug height 5 in.

874 (2 of 4)

$300/500 876. A Fine Beaux-Arts Gilt Bronze Twenty-Light Gasolier, c. 1880, cartouche-form corona, the standard with fluted and pierced spheres, shepherd’s crook supports, with acanthus and rosettes, height 47 in., diameter 43 in.

876 W 879. A Pair of Regency-Style Gilt Bronze and

Crystal Sconces, 19th c., acanthine backplate issuing scrolling candlearms, hung with crystal pendants, height 14 3/4 in.

$4000/6000

$400/600

877. A Pair of Aesthetic Gilt Bronze Three-Light Sconces, late 19th c., scrolling arms, square backplate, opposing demilune pierced foliate crests, height 23 1/8 in.

W 880. A Baccarat “Edith” Crystal Vase, 20th c.,

marked, height 8 in. $700/900

$1200/1800

W 881. An Orrefors “Pearl Diver” Glass Vase, c.

W 878. A Pair of Continental

Neoclassical-Style Gilt Bronze and Marble Three-Light Sconces, standing female figure standard, plinth base with mounted relief scene, foliate arms with masks, height 23 in., width 9 in. $400/600

1934, designed by Vicke Lindstrand, marked, height 11 in. $800/1200 Provenance: Shreveport, LA Collection.

877

W 882. A Hungarian Cut Crystal Commemora-

tive Covered Urn, early 20th c., fluted cover with pointed finial, floriform base, inscribed in Hungarian on two sides, height 17 in., diameter 6 in. $800/1200 W denotes the lot is illustrated at www.nealauction.com

189

W 888. An Antique Louis XV-Style Gilt Bronze Fire

Screen, acanthine rococo frame centered with a putto cartouche within a mesh screen, scrolled feet, height 35 in., width 29 in., depth 10 in. $500/800 889. A Pair of French Bronze-Mounted Red Variegated Marble Tazzas, 20th c., cast with grape leaves and clusters, on tall fluted pedestals, height 8 1/2 in., diameter 5 in. $600/900 889 890. A Continental Carved and Polychromed Blackamoor Stand, 19th c., kneeling figure supporting circular tray, reeded circular base, ball feet, height 22 in., diameter 14 in. $300/500

891

891. A Wedgwood Fairyland Luster Bowl, c. 1920s, octagonal with variegated blue exterior, mottled orange/red interior, flying geese border, and hummingbirds in flight, height 4 in., diameter 8 1/2 in. $700/900 W 892. A Group of Five

Pieces of Wedgwood Fairyland Lustre, c. 1920s, including a platter with sea life motif, mottled blue field centered with fish, diameter 9 in.; a footed custard dish with interior butterfly decoration, 3 1/2 in.; a low bowl with powder blue interior and polychrome enameled butterfly and floral exterior, diameter 6 in.; a small footed dish with turtle decoration; and a footed bowl with paneled sides and chinoiserie decoration, diameter 5 in.

890

W 883. A Lalique “Nemours” Crystal

Bowl, marked “Lalique, France”, height 3 7/8 in., diameter 9 7/8 in. $250/500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. W 884. A Lalique “Martinets” Crystal

893

Vase, marked “Lalique, France”, height 9 1/2 in., diameter 6 3/4 in. $400/600

W 886. A Pair of Majolica Wall Brackets, with

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

pseudo English date mark, serpentine top, scrolling leafwork bases, height 7 in., width 10 in., depth 14 in. $300/500

W 885. A French Majolica Fountain,

late 19th/early 20th c., marked “Clement Massier/ Golfe Juan (AM)”, polychromed birds perching on stone well, height 12 in., width 9 1/2 in.

W 887. A Continental Enamel Figural Group of

$400/800

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

190

Parrots, circular base with forking branches surmounted by parrots, height 5 in., diameter 3 3/4 in. $400/600

$400/600 893. A Pair of French Art Deco Brass Four-Light Candelabra, c. 1920, marked “F. Barbedienne”, bulbous form standard, scrollwork candlearms, circular base, height 15 1/2 in., diameter 7 1/2 in. $200/400

894. A Pair of Antique English Black Tôle and Brass Carriage Lanterns, beveled glass panes, height 26 in., width 7 1/2 in., depth 6 1/2 in. $400/600 895. A Pair of Renaissance Revival Argenté Chenets, 19th c., each lobed urn with flame finial, height 26 in., width 12 in., depth 8 in. $700/1000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

894

895

896. Édouard Paul Delabrierre (French, 1829-1912), “Two Tethered Hounds”, c.

1900, patinated bronze, inscribed “E. DELABRIERRE” on base, missing chain, height 14 3/8 in. $1000/1500 Note: Delabrierre exhibited a nearly identical bronze to the one offered here at the 1889 Universal Exposition in Paris.

W 897. A Grand Tour

Cabinet Bronze of the “Dying Gaul”, late 19th c., after the 1st c. Roman Antique, height 7 in. $300/500

896

W 898. Charles

Arthur Bourgeois (French, 1838-1886), “The Snake Charmer”, bronze, c. 1863-1870, artist name inscribed on base, stamped “Medaille D’or/ Paris”, height 12 5/8 in.

901

901. A Chinese Famille Verte Porcelain Sleeve Vase, decorated with the Eight Immortals, bats, crane, lingzhi, pine and rocks, the neck with dark brown glaze, height 14 1/2 in.

$800/1200 W 899. A Grand Tour Cabinet

Bronze of “Lo Spinario”, late 19th/early 20th c., after the Roman Antique, height 11 in.

$600/800

$300/500 W 900. A Continental Cabinet

Bronze of a Hunting Dog, 19th c., mounted on a painted wood base, height 11 in., width 12 1/2 in.

902

902. A Chinese Patinated Bronze Figural Censer, modeled as a pair of entwined Buddhist lions, one with removable head, height 9 1/4 in., width 12 1/2 in. $1000/1500

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

191

903

905

906. A Chinese Embroidered “Peking” Opera Warrior’s Robe, probably early 20th c., worked in couched metallic threads and satin stitch with geometric patterns, dragons and bats; the waist, shoulders and foot with mythical beast masks with padded silk highlights and fringe, height 58 in., width 64 in. $800/1200 906

904

903. A Chinese Parcel Gilt Bronze Censer, probably 20th c., rectangular body with tall neck and flat everted rim raised on four Buddhist lion mask and claw feet, mythical beast handles, pierced domed cover surmounted by the figure of a qilin and a qilong, base with Xuande mark, height 11 in., width 10 1/8 in., depth 6 1/8 in. $1000/1500

192

904. A Chinese Carved Giltwood Panel, inset rectangular panel carved in high relief with the figure of an Immortal beside a supplicating attendant surrounded by a deer, five bats, a crane, auspicious emblems, and cloud scrolls, set within a frame carved with flower heads and foliage, height 49 1/4 in., width 22 3/4 in., depth 2 in. $800/1200 905. A Chinese Embroidered Yellow Silk Cushion Cover, probably Qing Dynasty (1644-1911), worked in “French knot” stitch with a central five-clawed dragon amid a profusion of cloud scrolls, bats, Buddhist emblems, flower sprays, and wan, silk backing, 39 in. x 53 in. $4000/6000

W 907. A

Chinese Embroidered Red Silk Dragon Robe, probably early 20th c., worked in satin stitch and couched silver threads with ferocious dragons pursuing or grasping the flaming pearl amid cloud scrolls above an applied terrestrial diagram at the hem, height 55 3/4 in., width 77 in. $500/700

908. A Chinese Bone Calendar, probably early 20th c., footed octagonal body carved to the top with eight figures seated on mythical beasts surrounding a circular dial incised with numbers and characters, height 1 1/8 in., width 5 1/2 in., depth 5 1/2 in.

W 916. A South Arabian

$700/900

W 917. A Pair of Mughal-

Bronze Plaque, rectangular form modeled in low relief with nine horizontal lines of ancient text, height 5 3/4 in., width 4 in. $600/800

909. A Chinese White Jade Snuff Bottle, flattened rectangular body with palm leaf handles, carved with flowering branches, stopper, height 2 3/4 in.

Style Miniature Paintings, 20th c., each depicting figures in a garden setting, gouache on artist board/card stock, stamped “...

Kuuani (illegible) Miniaturist/ Iran...” en verso, 15 in. x 11 3/4 in., double matted and framed alike.

908

$800/1200

$150/250

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

Provenance: A New York Antiquarian.

W 918. A Tibetan Gilt Lacquer Bronze

W 910. A Chinese Turquoise Green

Figure of a Bodhisattva, elegant figure modeled wearing a tall tiered headdress and elaborate robes standing upon a tiered splayed base, height 18 3/8 in.

Overlay Amber Glass Snuff Bottle, globular body and tall neck carved with figures in a garden setting, stopper, height 2 1/2 in., wood stand, overall height 3 1/8 in.

$200/300

$400/600 W 919. A Large Yemeni Silver Necklace, W 911. A Chinese Jadeite Snuff Bottle,

mottled green and lavender stone carved as a bottle vase surmounted by a qilong and surrounded by a lingzhi sprays, stopper lacking spoon, height 2 3/4 in., width 2 3/8 in., wood stand, overall height 3 3/4 in.

silver rope chain hung with two large beads and three cylindrical prayer boxes, chain length 43 in., box width 5 1/4 in. and 6 1/2 in.

909

$600/800 W 920. A Yemeni Matchlock Rifle, 19th

$200/400

c., silver mounts, barrel with gold inlay, shoulder rest, plunger with snake-form mount, length 56 in.

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

$600/900 W 912. A Chinese Green Streaked White

Glass Snuff Bottle, flattened globular body, modeled in imitation of jadeite, stopper, height 3 1/4 in.

W 921. A Yemeni Matchlock Rifle, 19th

c., silver mounts, inlaid with mother-of-pearl, leather-covered shoulder rest, length 60 in.

$200/300

$500/700

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

W 922. A Chinese Carved Hardwood

Vitrine, probably early 20th c., pierced “bamboo” crest over glass upper case fitted with tiered shelves set on open shelf base with pierced bamboo apron on tall cabriole legs terminating in hoof feet, height 81 1/2 in., width 32 in., depth 14 1/2 in.

913. A Chinese Hornbill Snuff Bottle, flattened bottle-form body carved to one side with the figure of Shoulao holding a staff, the other with the figure of a lone deer, the short sides carved with bats and cloud scrolls, stopper, height 2 7/8 in. $1000/1500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. W 914. A Near Pair of Indian Bone

Inlaid and Embellished Hardwood Figures of Elephants, each caparisoned figure carved in striding motion, height 8 and 8 1/4 in., width 9 3/4 in.

$500/1000

913

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

W 915. A Sino-Mongolian Silver

Applied, Gem Embellished and Horn-Mounted Daggar and Scabbard, curved blade, length 8 1/2 in., overall length 23 1/4 in. $400/600

W 923. A Chinese Hardwood Stool,

probably 20th c., drum-form body with pierced apron, legs and stretcher, shaped feet, height 16 1/2 in., width 15 1/2 in., depth 15 1/2 in. $300/500

$600/800

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

193

924. A Chinese Gilt Decorated Red Lacquered Hide Trunk, probably early 20th c., brass bound lid, void interior, brass locks, bale handles, height 10 1/4 in., width 35 1/4 in., depth 24 1/2 in.

W 930. Two Chinese

Polished Brass Models of Buddhist Lions on Stand, comprised of a crouching female and a crouching pup, height 4 5/8 in. and 1 1/2 in., width 5 in. and 1 3/4 in., presented on a carved wood display stand, width 12 1/4 in.

Note: Repairs to stand.

$500/750

$200/400

W 925. An Asian Carved

and Lacquered Wood Sign, probably 20th c., bowed wood panel carved with seven characters on a mat black ground, set within a conforming red painted frame, height 55 3/4 in., width 11 in.

Provenance: Estate of Merle Tennyson Montjoy (1920-2008), sold for the benefit of the Mississippi Museum of Art.

924

W 931. A Chinese Rose Quartz Vase

and Cover, probably early 20th c., bottleform body raised on a rockwork plinth, carved around the body with playful Buddhist lions and lingzhi, domed cover with lion finial, wood stand, now mounted as a lamp, height to top of socket 16 3/8 in.

$200/300 Provenance: Estate of Dorothy Mintz (1920-2014), New Orleans, LA. W 926. An Indonesian Carved Wood

Janus Head Musical Instrument, possibly Torajan, double lobed rectangular form, sound box below a shaft with twin head finial, height 26 in.

$800/1200

$100/200

Group, green and black stone carved as peonies rising from a rock outcropping, raised on a naturalistic tripod base, h. 15 3/4 in.

W 927. A Chinese Hardstone Topiary,

probably mid-20th c., realistically modeled in the round with fabric-wrapped branches issuing colorful flowers and leaves, approx. height 7 in., width 14 1/4 in.

W 932. A Chinese Soapstone Floral

928

W 933. A Pair of Chinese Famille

Rose Porcelain Lanterns, probably 20th c., globular “eggshell” porcelain bodies decorated with children playing, raised on tall stem feet, height 9 7/8 in. Note: Small losses. (4 pcs.)

$300/500 928. A Chinese Hardwood Brush Pot, probably Qing Dynasty (1644-1911), naturalistically formed as a section of an old tree trunk, height 6 7/8 in.

$300/500

$1000/1500

934. A Chinese Famille Verte Porcelain Covered Jar, probably 20th c., baluster body decorated with phoenix birds amid rocks and flowering branches, conforming domed cover, height 16 in., now mounted as a lamp, height to top of finial 35 3/4 in.

W 929. Two Chinese Silk

Embroideries, probably 19th c., the first, a satchel, worked in running knot and satin stitch with couched gold thread highlights with lotus blossoms and butterflies on a pale pink ground, height 4 7/8 in., width 7 in., framed, overall 8 3/4 in. x 10 3/4 in.; the second, a fragment, worked in couched gold and silver threads and running knot stitch with leaves on a salmon damask ground, embroidered border, framed, overall 8 3/4 in. x 14 1/2 in. $400/600 Provenance: Estate of Merle Tennyson Montjoy (1920-2008), sold for the benefit of the Mississippi Museum of Art.

194

$500/700

$300/500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

934

W 935. A Chinese Famille Verte

Porcelain Rouleau Vase, probably 20th c., buffalo, deer and crane panels on a green diaper ground, base with Kangxi mark, height 21 1/4 in. $400/600

936. A Fine Chinese “Eggshell” Porcelain Bottle Vase, 20th c., finely painted with the figure of a bird resting on a wisteria branch, signed Zou Furen (1916-2012), base marked Jingdezhen, height 4 1/8 in., original storage box.

W 938. A Chinese Polychrome

$800/1200

$200/400

Porcelain Tea Pot, probably 20th c., domed body with scroll spout and loop handle, decorated with two kittens on a rock ledge, base marked, height 3 1/8 in., width 5 7/8 in.

Provenance: Acquired at an estate sale in Charlotte, NC.

939. A Chinese Polychrome Painted “Eggshell” Porcelain Bottle Vase, probably 20th c., lobed body modeled in imitation of bamboo, decorated with scenes of birds on a branches on a pale powder blue ground, base marked, height 10 1/4 in., storage box, (2 pcs.)

937. Two Chinese Famille Rose Porcelain Wall Hangings, probably 20th c., rectangular wood frames inset with porcelain tiles decorated with cranes and rocks, and birds in flowering branches, sealed upper left and upper right respectively, 19 5/8 in. x 14 1/2 in.

$400/600

$800/1200 Provenance: Descended in the New Orleans Family of Collector William Allan Manford (1913-2009).

936

937

939

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

195

Notes

196

Session Three Sunday, November 23, 11 am 3923 Carondelet Street

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

197

W 943. Robert

Gordy (American/New Orleans, 19331986), “Male Head”, prismacolor on paper, unsigned, “Arthur Roger Gallery” label with artist and title en verso, 4 3/4 in. x 4 1/4 in., framed. $250/500 Provenance: Arthur Roger Gallery, New Orleans, LA. W 944. Richard

942

940

Johnson (American/New Orleans, b.

1942), “Abstract Collage”, 1988, mixed media on paper, monogrammed and dated lower right, inscribed in pen “To Joel, 5/25/1988” en verso, sight 5 7/8 in. x 4 7/8 in., framed. $250/500 Provenance: Joel N. Weinstock Collection, New Orleans.

945

941. Mildred Wohl (American/New Orleans, d. 1977), “Crossing It Alone, III”, oil on masonite, signed en verso, titled on label affixed to top edge of frame, 42 in. x 36 in., framed.

941

940. Franklin Adams (American/New Orleans, 19332008), “Facade”, c. 1950, acrylic with mineral aggregate in paint matrix on masonite, signed lower right, titled on exhibition label en verso, 34 in. x 27 3/4 in., original frame.

$1200/1800 Provenance: Succession of Leon J. Impastato, New Orleans (1925-1998).

$2000/3000

942. Fredrick Guess (American/Louisiana, b. 1953), “French Quarter Courtyard”, acrylic on canvas, signed lower right, 30 in. x 24 in., framed.

Provenance: Purchased from the artist.

$700/1000

Exhibited: The first “Annual Painting of the Year Exhibition”, Atlanta Art Association Galleries, Atlanta, GA, 1954.

198

945. Tony Bass (American/ Texas, b. 1943), “Figurative Abstraction on Black Ground”, 2010, acrylic and mixed media on canvas, signed and dated en verso, 60 in. x 48 in., unframed. $800/1200 Provenance: Acquired from the artist.

946. Charles Whitfield Richards (American/New Orleans, 1906-1992), “Standing Odalisque (from behind)”, oil on masonite, signed lower right, 83 1/2 in. x 42 in., unframed. $500/700 947. Cora Keeley Ward (American/New Orleans, 1920-1989), “Ring”, 1961, watercolor on paper, signed and dated lower right, pencilinscribed “12176 C” en verso, “Robert Elkon Gallery” and “WBAI” exhibition labels en verso, 19 1/2 in. x 14 1/2 in., framed. $1200/1800 Note: Cora Kelley Ward was born in Eunice, LA in 1920 and lived the non-traditional life of an artist in New York City from the 1960s through the 1980s. Ward studied painting at the Newcomb Art School and received a degree in Nursing and a Master of Arts degree from Hunter College in New York.

In the summers of 1949 and 1950, she attended Black Mountain College in Asheville, North Carolina where she studied under Josef Albers (18881976) and was introduced to color theory and Abstract Expressionism. Ward also attended two classes with the famed art critic, Clement Greenberg, who would become a life-long friend.

948

946

Upon moving to New York City in 1955, the famously shy Ward lived in Greenwich Village and pursued painting and the photography for which she would become most well-known. Through her camera lens, Ward captured the events and people of the exciting New York art world of the time, including exhibitions for Betty Parsons and Leo Castilli. In her paintings, the influence of Albers and Greenberg is 947 obvious. Her work centered on late Abstract Expressionist theories of color and shape, and the work offered here is part of a large series that illustrate the artist’s process of working through those concepts.

949

948. Richard A. Johnson (Texas/New Orleans, b.

1942), “Summer #3”, 1995, acrylic on canvas, initialed “R.A.J” and dated lower right, signed, titled and dated en verso, 67 in. x 60 in., unframed. $2000/3000 949. Ronald Bechet (American/Louisiana, b.

1956), “Untitled #3”, 1986, charcoal on paper, signed en verso, sight 21 1/4 in. x 28 1/4 in., framed. $700/1000 W 950. Kendall Shaw (American/New Orleans,

b. 1924), “Emma Lottie Marches for the Right to Vote”, 1979, mixed media on color lithograph, signed and dated lower right, titled and numbered “13/50” lower left, 20 1/4 in. x 20 1/4 in., framed. $150/250

Following her death, Clement Greenberg hosted a memorial exhibition of her work in New York, and a large portion of Ward’s estate was gifted to the Paul and Lulu Hilliard University Art Museum of Louisiana in Lafayette, which later featured an exhibition entitled “Cora Kelley Ward: A Work in Progress” in the summer of 2012.

Reference: “Cora Kelley Ward: A Work in Progress.” Paul and Lulu Hilliard University Art Museum. www.museum. louisiana.edu. Accessed October 20, 2014.

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199

955. Hypolite (Haitian, 20th c.), “Religious Procession”, oil on canvas, signed and inscribed “Haiti” lower right, 16 in. x 20 in., framed. $500/800 W 956. Xavier

952

Cugat (Spanish/ Cuba, 18981990), “Guitar Player”, “Sweethearts and a Chihuahua”, and “Duck Parade”, three oils on canvas board, all signed lower right, 10 x 8 in. or 8 in x 10 in., framed. (3 pcs.) $1000/1500 Note: Xavier Cugat was the famed Latin personality and band leader of the WaldorfAstoria Hotel orchestra. His third marriage was to Spanish guitarist and actress, Charo.

Cugat was also a noted artist and cartoonist.

951

W 957. Warren Davis

955

952. Paolo Guiffre (American, 1930-1998), “Art Resting on his Journey of Return: 20th Century”, 1968, oil on canvas, signed and dated upper center on tree branch, titled and inscribed “Commenced Nov. 1966/ Finished 5/17/69” en verso, 27 in. x 35 in., framed. $1000/1500 Provenance: Ex-Collection of Harvey Hysell (1936-2008), New Orleans.

W 953. After Francisco Zuniga (Mexican,

1912-1998), “Sleeping Nude”, “Reclining Nude”, and “Crouching Nude with Blanket”, 1973-1974, three prints, each signed and dated in plate, sight 18 1/4 in. x 24 in., framed alike, (3 pcs.)

954

951. Paul Trebilcock (American/Illinois, 1902-1981), “Nude”, 1927, oil on canvas, signed and dated lower right, “Grand Central Art Galleries, New York” exhibition label with title en verso, 78 in. x 42 in., original frame. $1500/2500

200

$300/500 954. Latin American School, probably Peru, early 20th c., “An Incan Maiden in Grace Line Finery”, oil on canvas, indistinct inscription lower left, label “4/Cruz Garcia/Lent by The Grace Line” en verso, 30 in. x 25 in., framed. $500/750

(American/Texas, 1932-1974), “Seated Nude in a Black Background” and “Seated Nude”, two etchings on paper, both pencil-signed lower right, 7 3/4 in. x 5 3/4 in. and 4 3/4 in. x 2 in.; accompanied by Jean Vybow (American, 20th c.), “Kneeling Nude” and “Reclining Nude”, two etchings with sepia ink on paper, both pencil-signed lower right, 4 1/2 in. x 4 in. and 9 in. x 3 3/4 in., all framed (4 pcs.) $400/600 W 958. Angel Botello

(Spanish/Puerto Rico, 1913-1986), “Anne Frank”, linocut, pencil-signed lower right, inscribed “19/50” lower left, titled lower center, 24 in. x 16 in., matted and framed. $800/1200

959 (1 of 4) 966

W 961. Morris Henry Hobbs

W 965. Simon Gunning

(American/New Orleans, 18921967), “Nerida”, 1945, “Nocturnal Sonata”, “The Sunbather” and “Untitled: Standing Nude”, 1944, four etchings on paper, pencil signed and titled in lower margin, 9 3/4 in. x 8 1/2 in., 4 1/2 in. x 3 in., 4 1/2 in. x 3 in., 3 in. x 1 3/4 in., and 3 in. x 1 3/4 in., all framed. (4 pcs.)

(Australian/Louisiana, b. 1956), “Resting Rhino”, 1983, screenprint on paper, pencil-signed, dated and numbered “16/50” lower center, 13 1/2 in. x 22 in., matted and framed.

$800/1200 W 962. Wayne Amedee

(American/Louisiana, b. 1946), “Wild Peppers”, 1987, colored engraving, pencil-signed and dated lower right, 32 1/2 in. x 30 in., framed. $300/500 960

959. George Valentine Dureau (American/New Orleans, 1830-2014), “Danny Jones”, 1976; “Edward”, 1978; “Ricky Gormann”, 1989; and “Webster with Chair in His Room (Ray Webster’s Brother)”, four silver gelatin prints, all signed and titled in lower margin, one signed and dated en verso, each 20 in. x 16 in., unframed. (4 pcs.) $1500/2500 960. George Valentine Dureau (American/New Orleans, 1930-2014), “B.J. Robinson”, silver gelatin print, signed and titled lower margin, sight 23 in. x 18 1/2 in., framed. $400/600

W 963. Robert Gordy (American/

New Orleans, 1933-1986), “Waterbabies”, color screen print, signed lower right, numbered “14/100”, 32 1/2 in. x 24 1/2 in., framed. $100/150 W 964. Johnny Friedlaender

(German, 1912-1992), “Friedlaender Exhibition Poster”, engraving, pencil-signed lower right, inscribed “To John Weinstock” lower left, 25 3/4 in. x 15 5/8 in., framed.

$400/600 966. George Rodrigue (American/Louisiana, 19442013), “Mardi Gras Dogs”, 1993, silkscreen, signed and numbered “46/190” lower right, sight 23 in. x 28 1/2 in., matted and framed. $2000/3000 Note: George Rodrigue first used his Blue Dog in a Mardi Gras-themed silkscreen in 1992, and just one year later, he experimented in this silkscreen by, for the first time, changing the color of the dog to something other than blue, red or the original black-and-white. Purple, green and gold are used to highlight the shape of the dog within a dark background comprised of the original Blue Dog’s head repeated and just visible behind the Mardi Gras colors. The dogs wear doubloons featuring Rodrigue’s symbols for Louisiana: his stylized oak tree, a fleur-de-lis and the Blue Dog itself. This silkscreen represents an exciting period in the artist’s career when his paintings and prints began to leave behind the Louisiana landscape and explore new themes.

Reference: Rodrigue, Wendy. “Mardi Gras Silkscreens: A History.” Musings of an Artist’s Wife. Jan. 26, 2011. www.wendyrodrigue.com. Accessed October 15, 2014.

$250/500 Provenance: Joel N. Weinstock Collection, New Orleans.

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201

970. Clementine Hunter (American/ Louisiana, 1886-1988), “Wash Day”, oil on board, monogrammed center right, titled en verso, 16 in. x 23 1/2 in., framed. $2000/3000 Provenance: Acquired from the artist by a Natchitoches lady, c. 1970.

W 971. William Tolliver (American/

Louisiana, 1951-2000), “Woman Deep in Thought”, color serigraph on paper, pencil-signed lower right, titled lower center, numbered “219/250”, blind stamps “AM Editions” lower left and “Vargas & Associates Art Publishing, Boston, MA” lower right, 34 1/2 in. x 21 1/2 in., unframed. $300/500 Provenance: A Maine Estate.

967

968

969

967. Theora Hamblett (American/Mississippi, 1893-1977), “Seesaw”, 1968, oil on canvas, signed and dated lower right, signed en verso, 16 in. x 20 in., framed. $8000/12000 968. Clementine Hunter (American/Louisiana, 1886-1988), “Pickin’ Cotton”, oil on board, monogrammed mid right, 16 in x 24 in., framed. $3000/5000 Provenance: A Natchitoches, LA collector, acquired 2004.

969. Clementine Hunter (American/Louisiana, 1886-1988), “Cooking”, oil on board, monogrammed lower right, titled en verso, 16 in. x 23 3/4 in., framed. $3500/5500 Provenance: Acquired from the artist by a Natchitoches lady, c. 1970.

202

970

972. James L. Kendrick III (American/Louisiana, 1946-2013), “Louisiana Getty”, oil on canvas, signed lower right, 24 in. x 30 in., framed.

972 974

$800/1200 W 973. James R. Lamantia,

Jr. (American/New Orleans, 1923-2011), “Landscape”, 1966, engraving, pencil-signed and dated lower right, numbered “3/9” lower left, 4 3/8 in. x 8 3/4 in., matted and framed. $150/250 974. Clarence John Laughlin (American/New Orleans, 1905-1985), “The Evil Spectre of Ruin (No.1): 1940”, printed 1941, silver gelatin print mounted on board, titled and dated lower left, signed lower right, signed, titled, dated, inscribed and artist stamp en verso, 13 1/2 in. x 10 1/2 in., board 17 in. x 14 in., unframed.

975

977

$800/1200

977. Clarence John Laughlin (American/New Orleans, 1905-1985), “The Improbable Dome (No.1): 1964”, printed 1976, silver gelatin print mounted on board, titled and dated lower left, signed lower right, artist’s stamp and inscription en verso, image 14 in. x 10 7/8 in., board 17 in. x 14 in., unframed.

Provenance: Collection of Artist Charles Fritchie (b. 1936), New Orleans, LA. 975. Clarence John Laughlin (American/New Orleans, 1905-1985), “The Iron Shell (No.4): 1949 (Old LA State Capitol)”, printed 1981, silver gelatin print, signed lower right, titled and inscribed en verso, image 15 1/2 in. x 19 3/4 in., board 20 in. x 28 in., unframed. $800/1200 Provenance: Collection of Artist Charles Fritchie (b. 1936), New Orleans, LA.

$400/600 976

Provenance: Collection of Artist Charles Fritchie (b.

1936), New Orleans, LA.

976. Clarence John Laughlin (American/New Orleans, 1905-1985), “The Repulsive Bed: 1941”, printed 1981, silver gelatin print mounted on board, signed lower right, titled and dated lower left, signed, titled, dated, inscribed and with artist’s stamp en verso, image 15 1/2 in. x 19 3/4 in., board 20 in. x 28 in., unframed. $500/800 Provenance: Collection of Artist Charles Fritchie (b. 1936), New Orleans, LA. W denotes the lot is illustrated at www.nealauction.com

203

980. Clarence John Laughlin (American/ Louisiana, 1905-1985), “The House of the Past”, 1947, printed in 1978, silver gelatin print, signed, titled and dated lower margin, artist’s stamps and inscriptions en verso, image 13 1/2 in. x 10 1/8 in., board 17 in. x 14 in., unframed. $1200/1800 978

981

981. Alexander Stolin (Ukrainian/New Orleans, b. 1963), “Byzantine Mermaid”, 1994, oil on panel, signed and dated lower right, 15 1/2 in. x 11 1/2 in., original gilt frame. $2000/3000 Note: Alexander Stolin was born on August 30, 1963 and raised in Kiev, Ukraine. He studied art at the State School of Art in Kiev and the Ivan Fedorov Polygraphic Institute in Moscow, graduating with a Master of Fine Arts degree in 1988. He immigrated to the United States with his family in 1992, shortly thereafter moving to New Orleans where he began to exhibit in galleries and group exhibitions. This painting was part of his first series in the city, Byzantium on the Bayou (1993-1994), which combined Byzantine art references with classic New Orleans subjects, such as Mardi Gras. His work is included in the collection of the Ogden Museum of Southern Art as well as numerous private collections.

980

978. Maude Schuyler Clay (American/ Mississippi, b. 1953), “Riverside Elevator, Oakland, Coahoma County, Mississippi”, 1997, from Delta Land, silver gelatin print, signed, titled and dated lower margin, “Frame Up, Oxford, MS” label en verso, 19 1/4 in. x 14 1/2 in., framed. $600/900 Illustrated: Clay, Maude Schuyler. Delta Land.

Jackson: University Press of Mississippi, 1999.

982

Reference: Gruber, J. Richard.

“Alexander Stolin.” KnowLA Encyclopedia of Louisiana. Sep. 11, 2012. www.knowla.org. Accessed October 15, 2014.

W 979. Michael P. Smith (American/

New Orleans, 1937-2008), “Cynthia”, 1970, silver gelatin print, titled lower left, pencil-signed and dated lower right, artist stamp en verso, 14 in. x 11 in., unframed. $150/250 Provenance: Collection of Artist Charles Fritchie (b. 1936), New Orleans, LA.

982. James Michalopoulos (American/New Orleans, b.

1951), “Harrunda”, 1993, oil on canvas, signed “Mitchell” lower left, signed “Mitchell/Michalopoulis [sic]” and dated en verso, 27 7/8 in. x 21 3/4 in., framed; accompanied by certificate of authenticity from Michalopoulos Gallery, New Orleans. $4000/6000

204

983. Kenneth Noland (American, 19242010), “Untitled”, handmade paper collage, blindstamp of the artist “KN” lower right, handwritten note en verso “Best regards/ If the Lord let us go./ We will be on vacations/ Sep. 15 to Oct. 14/ 01”, 14 in. x 17 1/2 in., framed. $2000/3000 Provenance: Purchased Sotheby’s, New York, c. 1999.

983 984. A Newcomb College Art Pottery Matte Glaze Vase, 1924, decorated by Corinne Chalaron with stylized deco foliage, semi-matte glaze with blue, pink and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, reg. no. OG12 and shape no. 11, height 6 1/4 in.

984

$1000/1500 985. A Newcomb College Art Pottery Vase, 1933, decorated by Henrietta Bailey in pine cone motif, matte glaze with blue, green and pink underglaze, base marked with Newcomb cipher, decorator’s mark, Kenneth Smith’s potter’s mark and reg. no. UL47, height 5 in., diameter 6 in.

985

$1500/2500 986. A Newcomb College Art Pottery Vase, 1913, decorated by Anna Frances Simpson with narcissus, semi-matte glaze with blue, green, white and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. GC17, shape no. 237 and B for buff clay body, height 5 1/2 in. $1000/1500 987. A Newcomb College Art Pottery Vase, 1918, decorated by Sadie Irvine with Louisiana irises in low relief, matte glaze with blue, green, pink and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, and reg. no. JT21, height 10 1/8 in. $2000/3000 986

987

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205

990. A Shearwater Pottery Vase, c.

1950s, thrown by Peter Anderson, decorated by Walter Anderson with stylized ducks above waves, cottle blue and white applied slip, impressed mark, height 5 7/8 in. $1500/2500

989

991

991. A Shearwater Pottery Plate, c.

1950, decorated

by Walter Anderson with a stylized floral design in multi color glaze, impressed mark, diameter 5 3/4 in. $1500/2500 992. Alberta Kinsey (American/New Orleans, 18751952), “French Quarter Carriage Way”, oil on canvas, signed lower left, 18 in. x 14 in., period frame. $1200/1800

990

992

W 988. A Newcomb Guild Art Pottery

Vase, c. 1944-50, decorated by Francis Ford in the “Rainware” design, ribbed body with shaded blue and ivory glaze, base marked with Newcomb Guild cipher and Ford’s mark, height 4 7/8 in. $300/500

$500/700

989. A Newcomb College Art Pottery High Glaze Plate, 1909, decorated by Marie de Hoa LeBlanc with a maple wing motif, blue, green and yellow underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. CU65 and Q for buff clay body, diameter 8 1/4 in. $800/1200 993

206

993. Charles Whitfield Richards (American/New Orleans, 19061992), “Jackson Square, New Orleans”, oil on canvas, signed upper right, 10 5/8 in. x 13 1/2 in., framed.

994 995

996

994. Alexander John Drysdale (American/New Orleans, 1870-1934), “Louisiana Bayou”, 1914, oil wash on academy board, signed and dated lower left, 18 1/4 in. x 24 in., unframed.

997

$3000/5000 995. Peter Lanz Hohnstedt (Texas/New Orleans, 1871/72-1957), “Cast Iron Gate, French Quarter Courtyard”, oil on artist board, signed lower right, “Farish Art Store, New Orleans” label en verso, 17 in. x 14 in., period frame. $1000/1500

997. Colette Pope Heldner (American/New Orleans, 1902-1990), “Patio, Little Theatre, French Quarter, New Orleans”, oil on canvas board, signed lower left, signed and titled en verso, 20 in. x 16 in., framed. $1500/2500

996. Alexander John Drysdale (American/New Orleans, 1880-1934), “Autumn Trees, Louisiana Bayou”, oil wash on board, signed lower right, 20 in. x 30 in., original frame. $3000/5000

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207

999. James McConnell (Mac) Anderson (American/ Mississippi, 19071998), “Fishing”, 1979, oil on masonite, signed and dated lower right, “Eddie’s Frame Shop, Ocean Springs, MS” label en verso, 24 in. x 16 in., framed. $2000/3000 Provenance: Acquired from the artist.

998

999

1000

998. James McConnell (Mac) Anderson (American/ Mississippi, 1907-1998), “Skimmers”, 1973, oil on board, signed “JMcCA ‘73”, 21 1/2 in. x 31 1/2 in., framed. $3000/5000 Note: The youngest of the Anderson brothers, James McConnell (Mac) Anderson collaborated with Walter and Peter in Ocean Springs, MS at Shearwater Pottery after receiving his early education in New Orleans. He was a prolific artist, also known for his wood carvings, block prints, watercolors and oils. He had a deep love for nature and a keen eye for observation that combined with his unique style resulted in a remarkable body of work featuring the flora and fauna of the Gulf Coast. This painting features the distinctive skimmer (also known as a shearwater) that is a common permanent resident on the Mississippi coast.

Reference: Steward, Dod, Marjorie Anderson Ashley, et al. Shearwater Pottery. Slidell, LA: Bristol Publishing, 2005.

208

1001

1000. Alberta Kinsey (American/New Orleans, 1875-1952), “Red House”, oil on canvas board, signed lower left, 18 7/8 in. x 23 7/8 in., framed. $1200/1800 1001. Marie Atkinson Hull (American/Mississippi, 1890-1980), “Still Life of Magnolias”, oil on canvas board, signed lower right, 20 in. x 24 in., framed. $1800/2500

1002. Anne Wells Munger (American/Mississippi, 18621945), “The Pines, a Suggestion of the Inn by the Sea”, oil on board, signed lower left, signed and titled en verso, sight 16 1/2 in. x 13 1/2 in., framed. $1200/1800 Provenance: Estate of Major Philip St. George Ambler IV. 1003. Two Shearwater Pottery Mr. and Mrs. Aspirin Cast Lamp Bases, c. 1930-35, designed by Walter Anderson, glazed by Peter Anderson in antique green, Mr. Aspirin with ink stamp, Mrs. Aspirin with impressed mark, height 9 in. and 7 in., respectively, (2 pcs.) $1000/1500 1004. A Shearwater Pottery Vase, c. 1940, thrown by Peter Anderson, carved by Walter Anderson with a geometric band, antique green glaze, interior lilac glaze, unmarked, height 8 1/4 in.

1002

1006

$1000/1500 1005. A Shearwater Pottery Bowl, 1977, thrown by Peter Anderson, decorated by Adele Anderson Lawton with geometric landscapes, marked and dated in sgraffito by Adele, impressed Shearwater mark, height 3 1/2 in., diameter 10 in.

1003

$800/1200 1004

Illustrated: Stewart, Dod, et al. Shearwater Pottery, Slidell: Bristol Publishing, 2005, p. 165.

1006. A Shearwater Pottery Vase, 1999, by Jim Anderson, blue rain glaze, marked, signed and dated, height 8 7/8 in. $700/1000 1006A. A Shearwater Pottery Cast Bust of “Mae”, c. 1940, alkaline blue and gunmetal glaze, impressed mark, height 6 1/2 in. $1200/1800

1005 W 1007. A Small Newcomb College Art Pottery

Vase, 1923, decorated by Corinne Chalaron with deco stylized foliage, 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. NH78 and shape no. 2, height 2 1/2 in., diameter 2 3/4 in. $500/750

1006A

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209

W 1015. A Shearwater Pottery

Pitcher, c. 1940, by Peter Anderson, in the #10 form, copper red glaze, impressed mark, height 5 5/8 in. $150/250 W 1016. A Shearwater Pottery

Bowl, 1950s, thrown by Peter Anderson, speckled black shoal glaze, quarter size impressed mark, height 5 5/8 in. $400/600 1010

W 1017. Robert Lie (American,

1018

1899-1980), “The Lightning at Full Sail”, 1962, oil on canvas board, signed and dated lower left, signed, dated and inscribed “To Emma...” en verso, 17 3/4 in. x 23 3/4 in., framed. $700/1000 1018. Alfred Jansson (American, 1863-1931), “Autumn Willow Sprays”, 1921, oil on canvas, signed and dated lower right, titled in pencil on stretcher, 28 in. x 24 in., period frame. $1000/1500 W 1019. A. de Nottbeck (Dutch/

American, 20th c.), “The Connie and Other Boats at Dock”, oil on canvas laid on masonite, signed lower right, 19 1/2 in. x 25 1/4 in., framed.

1012

$300/500

W 1008. A Shearwater Pottery Bowl,

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

1990, by Jim Anderson, wisteria and shoal glaze, marked, signed and dated, height 5 1/4 in., diameter 8 3/4 in.

W 1020. A. de Nottbeck (Dutch/

$500/700 1022 W 1009. A Shearwater Pottery Vase,

2008, decorated by Patricia Anderson Findeisen with floral decoration in polychrome slip, signed and dated, impressed mark, height 7 1/2 in. $300/500 1010. A Shearwater Pottery Vase, c. 1984, thrown by James McConnell (Mac) Anderson, decorated by Adele Lawton with a landscape and scenes of Gulf Coast wildlife in polychrome slip, signed and dated by Adele in sgraffito, impressed mark, height 5 3/4 in.

1012. A Shearwater Pottery Urn, c. 1930s, thrown and glazed by Peter Anderson, alkaline blue double glazed, impressed mark, height 6 1/2 in.

$300/500

$600/900

W 1021. A. de Nottbeck (Dutch/

W 1013. A Shearwater Pottery

Vase, c. 1930s, by Peter Anderson, floriform with wisteria glaze, dime size impressed mark, height 5 2/8 in., diameter 5 3/8 in.

$800/1200

$300/500

W 1011. A Shearwater Pottery Covered

W 1014. A San Ildefonso Black

Jar, c. 1980s, by Jim Anderson, blue rain and sand glaze, marked and signed, height 5 1/2 in., together with a contemporary lidded studio pottery jar signed “Campbell”, height 5 1/4 in. $400/600

210

American, 20th c.), “Sailing Vessels beside a Coastal Pier”, oil on canvas laid on masonite, 20 3/8 in. x 27 1/2 in., framed.

Pottery Vase, 20th c., by Maria and Julian Martinez, signed in sgraffito “Marie/Julian”, height 4 1/4 in., diameter 5 1/2 in. $500/700

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

American, 20th c.), “Two Boats in a Mediterranean Harbor”, oil on canvas laid on masonite, signed lower left, 16 in. x 22 1/2 in., framed. $300/500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 1022. American School, late 19th/ early 20th c., “Still Life with Flowers and Fruit”, oil on canvas, inscribed “M.A. Peper/ 213 E. 68th St./ N.Y.C.” en verso, 35 in. x 24 in., period frame. $500/800

1023

1023. A Monumental American Renaissance Carved and Figured Walnut Bedroom Suite, late 19th c., attributed to Mitchell and Rammelsberg, Cincinnati, Ohio, comprising a bedstead, bureau and washstand, the headboard with arched crest centering wreath enclosing rosette, three arched panels, and stiles surmounted by acanthus-carved finials, the footboard with serpentine crest over three arched panels; the bureau with arched crest centering wreath, arched mirror swiveling in frame flanked by shaped bracket shelves, marble top with bowfront, conforming case fitted with three drawers and plinth base; washstand with shaped marble backsplash centering shelf, molded marble top with bowfront, conforming case fitted with three drawers, plinth base, bed height 117 in., interior length 78 1/2 in., interior width 60 in; dresser height 122 in., width 48 1/2 in.; washstand height 45 1/4 in., width 34 in., depth 18 1/4 in. $6000/8000 Note: The monumental scale and elaborate applied decoration combining various carved ornament indicate that the bedroom suite in the current lot was most likely manufactured by the firm of Mitchell and Rammelsberg in Cincinnati, Ohio. Mitchell and Rammelsberg, one of the largest furniture manufactures in the United States in the late nineteenth century, produced furniture of various grades in order to cater to different levels of the market. The currently offered lot, made in an exuberant interpretation of the Renaissance Revival style, represents the upper end of the spectrum of the firm’s production, featuring figured veneers, arched panels and a profusion of carved and applied ornament.

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211

1025

1026. An American Gothic Carved Walnut Gentleman’s Armchair, mid-19th c., pierced quatrefoil crest, padded back with spiral carved stiles, padded arms terminating in spherules, turned legs, casters. $700/1000 1027. An American Classical Carved Mahogany “Grecian” Couch, early 19th c., probably New York, low molded back rail, scrolled arm, figured seat rail, bracketed boss feet, casters, height 30 1/4 in., length 83 in., width 24 in. $1200/1800 Provenance: Purchased from Neal Auction, c. 1999.

W 1028. An American

Classical Curule Bench, early 19th c., upholstered seat, scrolled legs connected by a turned stretcher, height 19 in., width 25 in., depth 18 1/2 in.

1024

1024. An American Renaissance Carved and Burled Walnut Secretary-Bookcase, mid-19th c., arched shaped crest centered by an anthemion, paneled frieze, pair of glazed doors, enclosing birdseye maple shelves; desk with mechanical cylinder and fitted writing surface, birdseye maple drawers and compartments; a long drawer above two paneled doors, blocked base, height 108 1/2 in., width 50 in., depth 24 1/2 in.

$300/500

1026

$1500/2500 1025. An American Renaissance Burled Walnut, Incised, Inlaid and Ebonized Parlor Table, mid-19th c., attributed to Berkey and Gay, Grand Rapids, MI, top with musical trophée reserve, banded edge, vasiform support, shaped brackets with tassel pendants, X stretchers, turned feet, found in original surface. $1200/1800

212

1027

1029

1030

1029. An American Classical Carved Mahogany Pier Table, c. 1830, Philadelphia, marble top, molded frieze, scrolled supports with anthemion petals and burled maple oval bosses; mirrored back, incurvate stretcher shelf with inset marble, suppressed ball feet, height 35 1/2 in., width 42 1/4 in., depth 21 in. $1200/1800 1030. An American Classical Carved Mahogany Pier Table, c. 1830, Philadelphia, marble top, molded frieze, scrolled supports with anthemion petals and burled maple oval bosses, mirrored back, incurvate marble stretcher shelf, suppressed ball feet, height 35 in., width 37 in., depth 20 in., en suite with previous lot. $1200/1800

1031

1031. An American Classical Carved Rosewood “Voltaire” Armchair, mid-19th c., New York, school of Duncan Phyfe, arched crest with padded arms, S-scroll supports, straight seat rail, saber legs, casters.

1032

$1000/1500

1032. An Antique American Carved and Gilded Mirror in the Louis XVI Taste, mid-19th c., crest with urn and trophées, flanked by pair of birds, egg and dart-shaped surround, wheat sheaf pendant base, divided mirror plate, height 67 1/2 in., width 41 1/2 in. $1500/2500

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213

1037

1033

1034

1034. A Rare French Carved and Polychromed Folk Art Figure, base painted “Japonai. Par./ Franciere à Courcelles Epayelle 1888”, modeled with articulated arms, metal hat visor and brass-tack buttons, height 25 1/2 in., width 9 3/4 in., depth 7 1/2 in. $1500/2500 Provenance: A Private Collection, Florida; indicated as depicting a Haitian figure, probably a ship’s purser.

Note: Courcelles-Epayelle is a village in the Picard region of northern France.

1035. Friedrich Goldscheider (Austrian, 1845-1897), polychrome terracotta figure of a young boy fishing, rockwork base, detached fishing pole, stamped “Friedrich Goldscheider” and “Reproduction Reserve” on reverse, numbered “1559-2139-54” and indistinctly inscribed on reverse, height 17 in., overall height 22 1/4 in. $2000/3000

1035

1033. An American Classical Carved Giltwood Mirror, c. 1835, Philadelphia, split baluster frame with blocked rosette corners, foliate and grapeleaf carving throughout, height 47 1/4 in., width 31 3/4 in. $500/1000 Provenance: The Estate of Major General Robert E. Patterson, probably from his notable mansion designed by William Strickland.

1036. Stephen Paul Day (American/New Orleans, 20th c.), “Portrait of Billy the Kid”, 1994, 1036 cast ruby glass and bronze on granite base, monogrammed and inscribed on bronze self base, titled and inscribed on bust, artist, title and date identified on label, height 17 in., width 12 in. $1500/2500 Provenance: Bonham’s, San Francisco, 2010 to a Private Collection, Santa Fe, NM. 1037. An American Cast Iron Gate Finial, mid-19th c., figure of a woman with hat on plinth base, height 15 1/2 in., width 8 in., depth 7 in. $300/500

214

1038. A Continental Polychromed Wood Coffer, 19th c., chinoiserie figural landscape, brass handles, height 14 in., width 19 in., depth 12 in. $600/800 1039. A Continental Carved Mahogany and Parcel Ebonized Humidor, 19th c., the reserves carved with hunt scenes, gilt beaded accents, height 8 1/2 in., width 12 1/2 in., depth 9 1/2 in.

1038

1039

$600/800 1040. A Continental Chalkware Napoleon Mask, 19th c., bicorn hat with braid and rosette, height 11 1/2 in., width 16 in., depth 7 in. $300/500

1040

1042. A Good American Classical Carved Mahogany and Cherrywood Chest of Drawers, c. 1830, indistinctly signed in pencil, blocked backsplash, rectangular molded top, three short drawers and one deep drawer outset over three graduated drawers flanked by acanthine engaged columns, acanthine paw feet, height 63 1/2 in., width 48 1/4 in., depth 24 in., poplar and pine secondary woods.

1042

$1200/1800 Provenance: Sold in these rooms on April 21, 2012 as lot 296.

1041 1041. An American Classical Carved Mahogany Sofa, early 19th c., N.Y., cylindrical crest rail terminating in acanthine scrolls, scrolled dolphin arms, cornucopia carved bracketed hairy paw feet, casters, height 34 in., width 91 1/2 in., depth 25 in.

Note: This chest of drawers is typical of the better quality case furniture made in Upstate New York in the second quarter of the nineteenth century, featuring a top and sides of solid cherry and a façade veneered with figured mahogany. Sophisticated examples of Classical chests of drawers, tables and sofas produced in various cities in northern and central New York State are embellished with the same wellexecuted carving of acanthus leaves seen on the engaged columns and lion’s paw feet of the current lot.

References: Scherer, John L., “New York Furniture at the New York State Museum” (Alexandria, VA, 1983), pp. 53, 55, 57, and 63.

$1000/2000 W denotes the lot is illustrated at www.nealauction.com

215

1043. An American Late Classical Mahogany Pier Table, c. 1840, rectangular marble top, ogee-molded frieze, scrolled supports, mirrored back, shaped plinth, scrolled feet, height 36 in., width 39 in., depth 20 in. $1200/2000 1044. An Important American Rococo Carved Rosewood Half-Tester Bed, c. 1850, New Orleans, of the well-known group of historic furniture, often referred to as “Lansdowne”, serpentine beaded tester, cluster column posts, beaded paneled headboard surmounted by a fruit filled urn and reticulated scroll elements, shaped highly carved rails, foot posts with mosquito bars, casters, height 119 in., interior length 87 1/2 in., interior width 66 1/2 in.

1043

$25000/35000 Provenance: Bryan and Rubie Bell Collection, Musson-Bell House, New Orleans, LA. Note: In form, proportion and carved decoration, this fine bed relates to the famous carved rosewood bed from Prudent Mallard (Sevres/New Orleans 1809-1879) at Lansdowne in Natchez, Mississippi. The tester frame, posts, headboard and rails of this lot and the bed at Lansdowne are virtually identical. However the crest of the headboard on this lot has an urn of larger scale and retains more fulsome scrolls than that at Lansdowne. A rosewood bed from a White Castle, Louisiana plantation, also related to the Lansdowne example and with an urn crest similar to that seen here, was sold in these rooms as 294, October 11, 2008.

Reference: The Lansdowne bed is illustrated in Otto, Celia. American Furniture of the 19th Century, New York: Viking. 1965, fig. 289.

1044

216

1046

1045

1045. An American Rococo Carved Rosewood Armoire, mid-19th c., New Orleans, en suite with previous lot, arched beaded cornice, conforming frieze, pair of mirrored doors, shelf interior with two drawers, chamfered acanthus and floral carved stiles, the base with long drawer, the whole with elaborate ripple moldings, height 108 1/2 in., width 72 in., depth 26 in. $7000/10000 Note: This remarkable armoire relates closely to several pieces of the important bedroom suite from Prudent Mallard at Lansdowne in Natchez, Mississippi. The lobed finials, robust bead moldings, ovolo corners on the cornice and plinth, the scroll carving on the chamfered stiles, and turned feet seen on this lot are nearly identical to those on the rosewood armoire from the Lansdowne suite and to another armoire from a New Orleans Garden District home believed to have been acquired from Jefferson Davis in 1865.

Reference: Otto, Celia. American Furniture of the Nineteenth Century. New York: Viking, 1965, figs. 289 and 292; Neal Auction Company lot 894, October 12, 2008.

1048 1046. An American Rococo Carved Rosewood and Marble-Top Dressing Chest, mid-19th c., found en suite with the preceding halftester bed and armoire, shield-shaped mirror above serpentine case, three graduated molded drawers, acanthus carved chamfered sides, scroll carved base, bun feet, height 74 1/2 in., width 45 1/2 in., depth 25 in. $1200/2000

1048. An American Classical Carved Mahogany Armoire, early 19th c., probably Baltimore, flared cornice, inset arch frieze, paneled doors flanked by Ionic columnar pilasters, shelf interior, each end with paneled doors, molded base, massive paw feet, height 87 in., width 73 7/8 in., depth 28 in. $2500/3500

W 1047. An American Rococo Carved Rosewood Washstand, c.

1850, found en suite with preceding lots, marble top above drawer and pair of doors, chamfered scroll carved sides, shaped base, disc feet, the whole with ripple moldings, height 32 in., width 37 1/2 in., depth 21 in.

Note: The Ionic pilasters, frieze with recessed arch, side cabinets, and carved paw and Ionic capital feet on this armoire are very similar to those on Baltimore armoires that sold in these rooms on April 14, 2007, as lot 173 and on December 5, 1992, as lot 616.

$800/1200 W denotes the lot is illustrated at www.nealauction.com

217

1050. An American Rococo Carved and Laminated Rosewood Sofa, mid-19th c., attributed to John Henry Belter, New York, in the pattern commonly referred to as “Henry Clay”; floral crest rail with volute scrolls, serpentine molded arms, conforming seat rail, floral carved cabriole legs, casters, height 43 1/2 in., width 72 in., depth 36 1/2 in. $2500/3500 1049

1050

1049. A Fine American Late-Classical Mahogany Bookcase, c. 1840, possibly J. & J.W. Meeks, New Orleans’ ware rooms, 1830-1839, of monumental size, scrolled and shell carved crest, ripple molded frieze above four glazed doors over four drawers, adjustable shelf interior, height 112 1/2 in., width 143 in., depth 20 in. $12000/18000 Note: The Meeks firm establishes a successful sales business in New Orleans as early as 1820. Two sons of the patriarch, Joseph Meeks, operated a store in New Orleans along several addresses on Chartres Street in the Vieux Carré until 1839.

The large bookcase offered here is likely a special order made for a large library in a Greek Revival setting such as the stately antebellum houses found along the Mississippi River from the Natchez, MS district to New Orleans.

218

1051

1051. An American Gothic Revival Carved Walnut Child’s Chair, mid-19th c., pierced spire back, turned finials and stiles, trapezoidal seat, turned legs. $400/800 Provenance: Purchased from Anne McPherson Bivins, Nashville, TN, 2010.

1052

1052. An American Renaissance Carved Walnut Gilt-Incised and Parcel Ebonized Music Cabinet, late 19th c., Philadelphia, backsplash with anthemion crest and inset mirror, paneled door mounted with musical trophée, shelf interior, long drawer, blocked turned stiles, shaped stretcher shelf, turned legs, height 62 in., width 30 1/2 in., depth 19 1/4 in.

1053

$1200/1800 1053. An American Renaissance Carved Walnut Library Bookcase, mid-19th c., stenciled label “Hart Malone & Co., 103, 105, 107 Water St., Cleveland, OH”, arched molded cornice surmounted by a bust of Benjamin Franklin, breakfront case with three glazed doors, shelf interior, molded base with three drawers, height 117 in., width 79 in., depth 19 in. $3000/5000 1054. An Antique English Burlwood and Mahogany Loo Table, mid-19th c., oval bookmatched top, conforming frieze, melon carved standard, volute scrolled legs, height 29 in., width 49 7/8 in., depth 33 in. $800/1200 1054

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

219

1055

1058

1056. A Louis Philippe Carved Mahogany Pier Table, 19th c., later top, ogee molded frieze with blind drawer, scrolled supports, mirrored back, shaped plinth, paw feet, height 35 1/2 in., width 38 1/4 in., depth 16 3/8 in. $500/700 Provenance: The Christian Woman’s Exchange, New Orleans.

1056

1057. A Napoleon III Carved and Gilded Dressing 1057 Screen, late 19th c., three shaped reticulated panels centered by a mirror backed musical trophée, circular mirrors and silk panels to the sides, height 71 1/2 in., width 51 in. $700/1000 1058. Ignaz Ellminger (Austrian, 1843-1894), “Water Wagon, Vienna, Austria”, oil on canvas, signed and inscribed “Wien” lower right, 19 3/4 in. x 32 1/8 in., framed. $1000/2000 1059

1055. Two Antique Louis XV-Style Carved Walnut Fauteuils, shield backs, old petit point upholstery. $500/700 Provenance: Sold onsite at Bocage Plantation, Darrow, LA, December 8, 2007 as lot 66.

220

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 1059. Italian School, 19th c., “The Bacino di San Marco”, in the manner of Francesco Guardi (1712-1793), oil on canvas, unsigned, 14 in. x 17 in., framed. $1200/1800

1060

1062

1060. Belgian School, 19th c., “Cows”, oil on canvas, signed “Q. Schouten” lower left, 48 in. x 60 in., gilt frame. $1500/2500 1061. Henry Schouten (Belgian, 1864-1927), “Plowing the Fields”, c. 19001910, oil on canvas, signed lower right, 26 in. x 36 1/2 in., framed.

1061

$800/1200 1062.

Attributed to H.A. Meadows (British, 19th c.), “Hay Harvest”, oil on canvas, monogrammed “HAM” center right, 30 1/2 in. x 50 in., antique frame. $2500/3500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

1064

1064. A Continental Carved and Gilded Pier Mirror, late 19th c., crest with urn and cascading flowers, guilloche surround, shaped mirror plate, height 73 in., width 34 in.

1063

$1200/1800 1063. Gustave de Breanski (British, 1856-1898), “Hastings Sussex, Looking West”, oil on canvas, signed lower left, artist’s name and title inscribed in ink on frame, titled on stretcher, 16 1/8 in. x 20 1/8 in., framed. $2000/3000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. W denotes the lot is illustrated at www.nealauction.com

221

1065. A Fine Georgian Revival Carved and Burled Walnut Dining Room Suite, early 20th c., labeled Berkey and Gay, Grand Rapids, Michigan, comprising a dining table, two armchairs, ten side chairs, a sideboard and a buffet; the table with rectangular top opening to take six leaves, carved 1065 scroll legs; each chair with yoke crest, scroll stiles, pierced splat, cabriole legs, hairy paw feet; the sideboard with marble top and drawer centering acanthine cartouches; the buffet with two paneled doors on broken-scroll legs, table height 30 1/2 in., extended length 91 1/2 in., width 50 in.; sideboard height 38 in., width 90 1/2 in., depth 22 1/2 in.; height 35 in., width 48 in., depth 21 1/2 in. $20000/30000 Provenance: Bryan and Rubie Bell Collection, Musson-Bell House, New Orleans, LA.

1065

222

Note: The firm of Berkey and Gay began in 1866 when George W. Gay became a partner in Berkey Brothers and Company, established several years earlier by Julius Berkey, William Berkey and Elias Matter. In the 1870s, the furniture made by Berkey and Gay was mostly Renaissance Revival in style, but by the 1880s, it reflected the influence of reform styles including Eastlake and Anglo-Japanese. The type of furniture made by the firm in the 1870s is represented by a Renaissance Revival walnut and marquetry parlor table included in this sale as lot number 1025.

In the first quarter of the twentieth century, the firm developed a reputation for manufacturing fine quality furniture in close imitations of English styles from the seventeenth, eighteenth and early nineteenth centuries. The dining room suite in the current lot combines features from several periods in the history of English furniture, including William and Mary and early Georgian.

1067

1066

1066. A Napoleon III Carved Giltwood Mirror, late 19th c., broken arch crest, elaborate shield shaped frame, egg and dart inner molding, beveled mirror plate, height 71 1/2 in., width 44 in.

1068

$1500/2500 1067. A French Renaissance-Style Carved Walnut Center Table, 19th c., inset marble top, paneled frieze with central drawer, pendant corners, heavily reeded supports, conforming stretcher, acanthus scrolled feet, height 31 1/2 in., width 49 in., depth 29 1/2 in. $800/1200 1068. An Italian Baroque-Style Carved Walnut Sofa, 19th c., shaped crest centered with foliate cartouche, scrolled arms, molded seat rail, acanthine cabriole legs, height 41 7/8 in., width 85 in., depth 27 in. $800/1200 1069. A Set of Twelve George III Mahogany Dining Chairs, 18th/19th c., comprised of ten side and two armchairs, shield shaped backs, palmette and fan reticulated splats, serpentine seats upholstered over the rail, molded tapered square legs, spade feet, armchairs with scrolled arms and uprights. $4000/6000 Provenance: Acquired from George Subkoff Antiques.

1069 W denotes the lot is illustrated at www.nealauction.com

223

1072

1071. A Large Georgian Carved Mahogany Four Part Banquet Table in the Adam Taste, late 18th c., D ends with two drop leaf center sections, fluted frieze, fluted tapered square legs, brass cuffs, casters, height 29 1/2 in., extended length 202 in., width 60 in. $7000/10000 Provenance: Acquired from George Subkoff Antiques.

1070

1071

1070. An American Federal-Style Inlaid Mahogany and Églomisé Secretary Bookcase, 19th c., pedimented crest with brass ball finials, astral glazed doors with églomisé panels; breakfront base with escritoire drawer over long drawer flanked by drawers and cupboards, square tapered legs with bellflowers, height 85 1/2 in., width 55 1/2 in., depth 18 in.

1072. An American Classical Carved Mahogany Sideboard, c. 1820, New York, pedimented backsplash, outset frieze drawers over crossbanded doors flanking three small drawers and two bottle drawers, blocked engaged acanthus carved columns, anthemion carved paw feet, height 56 1/2 in., width 58 1/2 in., depth 24 1/2 in.

$2500/3500

Provenance: Acquired from Stanley Weiss, August 1996.

224

$2500/3500

1073

1074

1073. An Antique Chippendale-Style Carved Mahogany Tea Table, probably late 19th/early 20th c., reticulated galleried top, blind fretwork frieze, bracketed molded square legs blocked at the base, height 28 5/8 in., width 34 in., depth 22 in. $500/800 Provenance: Estate of Madelyn C. Kreisler; to Joel N. Weinstock, New Orleans.

1074. A Set of Six American Classical Mahogany Dining Chairs, c. 1830, each with arched crest, vasiform splat, serpentine seat rail, saber legs; together with three additional rush seats.

1076

$1000/1500 1075. An Adam-Style Inlaid Mahogany Breakfront Bookcase, 20th c., reticulated swan’s neck crest, dentil molded frieze, three glazed doors, reeded edge top above three paneled doors, bracket feet, height 102 in., width 75 in., depth 18 in. $1500/2500 Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL. 1077

1076. A Pair of Georgian Carved Walnut and Inlaid Yew Wood Games Tables, 18th c. and later, each with foldover banded top with outset corners, shaped frieze, bellflower carved cabriole legs ending in pad feet, height 29 1/2 in., width 36 in., depth 18 in.

1077. A Charles X Inlaid Rosewood Work Table, early 19th c., sarcophagus lid, fitted satinwood interior, scroll legs, stretcher shelf, height 29 1/4 in., width 19 1/2 in., depth 13 in. $500/750

$1000/1500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

1075 W denotes the lot is illustrated at www.nealauction.com

225

1078

1080

1081

1079. A Suite of Four Louis Philippe Carved Rosewood Chaises, mid-19th c., comprised of a pair of armchairs and a pair of side chairs, arched floral crests, padded backs, arms and seats, cabriole legs, scrolled toes, casters. $1000/1500 1080. John Haynes Williams (British, 1836-1908), “The Birthday Garland”, 1901, oil on canvas, signed and dated lower left, titled on frame plaque, “Michael Gann Art Gallery, NY” stamp en verso of frame, 20 in. x 30 in., framed.

1079

1078. A Pair of Georgian-Style Inlaid Mahogany Jardinières on Stands, 20th c., slatted with brass liners, saber legs, patera inlaid stretchers, height 37 in., width 14 1/2 in., depth 14 1/2 in. $500/800 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

226

$2500/3500 1081. George W. Pettit (British/Philadelphia, 1838-1910), “Female Equestrian”, oil on canvas, signed lower left, 13 1/4 in. x 17 1/4 in., antique frame. $2000/3000

1082. Patrick Nasmyth (British, 17871831), “Landscape with Figures along the Creek”, 1829, oil on panel, signed and dated lower middle, 18 1/4 in. x 26 in., framed. $1200/1800 1083. A Pair of BronzeMounted Sevres-Style Porcelain Vases, cobalt ground, the reserves with courting couples and sylvain landscapes, height 12 in., diameter 3 in.

1082

1083

$700/1000 Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL. 1084. A Large Capodimonte Porcelain Covered Urn, 20th c., marked, egg form, goat mask handles, encircled by a relief of cherubs and maidens cavorting in a river, height 20 3/4 in., diameter 9 in. $700/1000 Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL. 1085

1086. A Set of Twelve Silverplate Chargers, marked “ROYAL CASTLE SHEFFIELD”, molded border with scalloped gadrooned edges.

1084

$1000/1500 W 1087. Twelve Gorham Sterling Silver

Bread Plates, ret. Coleman E. Adler, New Orleans, plain circular forms with reeded border and engraved monogram on the rim, diameter 6 3/8 in., weight 40.40 troy ozs. $300/500 W 1088. An Antique English Crested

Silverplate Warming Stand, Elkington & Co., Birmingham, 1843, height 3 1/8 in., length 13 in., width 8 1/4 in.

1086

$300/500 1085. A Large Italian Majolica Jardinière, c. 1870, marked with “M” and a crown, pierced globular body with leafy branch handles on branch feet, decorated with Venus, Cupid and a satyr on a cobalt ground with foliage, a grotesque mask and harpies, height 17 in., width 20 in., depth 14 in. $600/900 W denotes the lot is illustrated at www.nealauction.com

227

1092. A Pair of Charles-X Style Gilt Bronze and Baccarat Cut Glass Candlesticks, early 20th c., marked “Baccarat” on bobêche, diamond point standard, the candle nozzle and base cast with grapeleaf and engine-turned decoration, height 12 1/4 in. $700/1000 Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL. 1090

1094 1093. A Pair of Napoleon III Gilt Bronze and Rouge Marble Six-Light Candelabra, mid-19th c., vasiform standard, scrolled handles with masks of Classical maidens, shaped base inset with trophée mounts on scrolled feet, height 30 in., diameter 11 in. $1500/2500 Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL.

1092

W 1089. An Antique English Silverplate

Tripartite Biscuit Box, Joseph Elliot & Sons, Sheffield, c. 1890, each shell with cast drop ring handle on a footed stand with central scrolled handle and mushroom knop finial, height 10 in., width 8 1/4 in.

1093

$200/300 W 1091. A Pair of Continental Rococo-

1090. A Pair of Rococo Revival Gilt and Patinated Bronze Six-Light Candelabra, 19th c., faceted shaft, tripartite base with cherub terms, height 22 in., diameter 9 in. $700/1000

228

Style Argenté Sconces, 19th c., possibly Spanish, backplate with central cartouche, seated putti and floral surround issuing two scrolled candlearms, height 10 1/2 in., width 9 1/2 in., depth 6 3/4 in. $400/600

1094. A Pair of Empire-Style Gilt BronzeMounted Cut Crystal UrnForm Lamps, 20th c., scrolled handles ending in masks, height 24 in., width 6 1/4 in., depth 6 1/4 in. $500/1000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

1095. John Senex (English, 1678-1740), “A New Map of Italy”, 1708, handcolored engraved map, 25 1/2 in. x 36 3/4 in., attractively float mounted and framed. $600/900 1096. A Continental RenaissanceStyle Equestrian Bronze, late 19th/early 20th c., of St. George battling the dragon, on a verde antico marble base, height 12 3/4 in.

1095

1096

$800/1000 1097. A Louis Philippe Carved Giltwood Mirror, c.

1845, foliate cartouche crest, beaded surround, height 59 1/2 in., width 36 1/2 in. $800/1200 Provenance: Penny Pence Antiques, New Orleans, 1999.

1098. A Pair of Régence-Style Carved Giltwood Mirrors, acanthus cartouche crest, scrolling leafwork sides, shaped mirror plate, bracketed shell carved base, height 52 in., width 31 in. $1500/2000 1097

1098 (1 of a pair)

1099. A Swiss Inlaid Rosewood Cylinder Music Box, early 20th c., top inlaid with trophée, manuscript label from “J.H. Heller, Bern” indicating the eight aire selections, height 6 in., width 22 1/2 in., depth 8 1/2 in. $1000/1500 W 1100. An Antique German Inlaid Pollard Oak and

Walnut “Symphion” Music Box, inlaid case with scene of putti playing music, retains polyphone discs, in playing condition, height 12 in., width 20 in., depth 16 in. Note: Loss to inlay.

1099

$500/700

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

229

1101

1103

1102

1104

1101. A Restauration Gilt Bronze Figural Mantel Clock, c. 1830, modeled as “Ariadne Abandoned on Naxos”, striking bell movement, engine turned dial, palmette border, height 19 1/8 in., width 15 1/4 in., depth 5 1/2 in. $700/900

1103. A Fine American Renaissance Carved Walnut and Parcel Ebonized Extension Dining Table, mid-19th c., circular top, paneled frieze with bosses, chamfered standard, bracketed plinth base, casters, height 30 in., length 58 in., width 58 1/2 in., with two conforming leaves, each 23 5/8 in. $1200/1800

1102. A Paris Porcelain Gilt and Polychrome Mantel Clock, c. 1850, shell and scroll-form case, the reserves with floral bouquets, on conforming base, striking bell movement, height 14 1/2 in., width 8 3/4 in., depth 5 1/4 in. $700/1000

1104. A Set of Eight Georgian-Style Carved and Inlaid Mahogany Dining Chairs, early-to-mid 20th c., comprised of one armchair and seven side chairs, shield back with wheat sheaf crest, patera inlaid pierced splat, serpentine seat upholstered over the rail, molded tapered legs, spade feet. $1200/1800

230

1105. A Set of Edwardian Mahogany and Inlaid Maple Quartetto Tables, early 20th c., each graduated table with oval burled maple inlaid top, bamboo turned legs, trestle supports, height 27 in., width 19 1/2 in., depth 13 1/2 in. $300/500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

1105

1106

1107

1106. A William and Mary-Style Carved, Gilded and Burled Walnut Center Table, 19th c., banded, book matched top, foliate molding, plain frieze, rosette and shell-carved cabriole legs, incurvate stretchers, blocked foliate carved feet, height 30 in., width 36 in., depth 23 5/8 in.

1108

1108. A Louis XVI-Style BronzeMounted Kingwood Parquetry and Marquetry Tric Trac Gaming Table, 19th c., foldover swivel top, floral reserve, fitted drawer, shaped apron, cabriole legs, height 28 1/2 in., width 31 1/2 in., depth 23 in.

1109

$1000/1500

$1200/1800 1107. A Set of Four George II-Style Carved Mahogany Burled and Inlaid Side Chairs, late 19th/early 20th c., arched shell-carved crest rail, shaped stiles, vasiform splat with lozenge inlay, trapezoidal slip seat, volute cabriole legs ending in pad feet.

1109. A West Indies Carved Tropical Hardwood and Caned Settee in the Regency Taste, scrolled reeded back centered with a shell, scrolled reed arms, conforming seat rail with rosettes, on spiral turned tapered legs, height 35 1/4 in., width 90 1/2 in., depth 28 1/2 in.

$800/1200

$2000/3000

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

Provenance: Purchased from Zac Abramson, Abramson Antiques, Florence, AL, c.

2003.

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

231

1111

1110

1110. A Set of Six Rococo Carved Mahogany and Caned Chairs, 19th c., probably Cuba, comprised of two arms and four side chairs, oval backs, the crests with baskets of flowers and scrolling leaves, serpentine seat rails with foliate cartouches and diapering, molded cabriole legs.

1112

$1200/1800 Provenance: Purchased from Hunter Kay, Woodland Antiques, Nashville, TN, c. 1999.

Note: Similar chairs, with oval backs are illustrated in Connors, Michael.

Cuban Elegance. New York, Abrams, 2004, pp. 3 and 140.

1111. Four American Classical Carved Mahogany Klismos Chairs, early 19th c., found “in frame”; tablet crests, shaped stiles, trapezoidal seat rails, sabre legs, lacking seat frames. $800/1200 Provenance: Purchased from Jim Norman Antique Auction, Hartselle, AL around 2003.

1112. An Anglo-Colonial Tropical Hardwood Daybed, 19th c., possibly rosewood, each end with vasiform turned crest rail, scrolled uprights, medial spindled slat, square legs, conforming rails, height 38 in., interior length 74 in., interior width 35 in. $600/900

1113

1113. An American Late Classical Carved Mahogany Mixing Table, c. 1830, molded faux marbre slate top, paneled frieze, spiral turned legs, height 28 in., width 39 in., depth 21 in. $800/1200

232

1114. An American Federal Two-Piece Cherrywood Stepback Cupboard, early 19th c., mid-Atlantic, molded cornice, glazed doors, chamfered corners, the base with three drawers above a pair of paneled doors, bracket feet, height 77 5/8 in., width 48 in., depth 16 1/8 in. $1000/1500 1115. An Antique American Painted Plantation Desk on Stand, 19th c., slant top, fitted interior, on a conforming stand with three drawers, square legs, stretchers, old red paint, height 42 1/8 in., width 35 5/8 in., depth 22 in.

1115

$500/700

1114

1117

1117. An American Sheraton Carved Mahogany Washstand, early 19th c., galleried top, frieze drawer, ring and baluster turned legs, incurvate stretcher shelf, turned feet, old dark surface, height 32 1/2 in., width 29 1/2 in., depth 17 1/2 in.

1118

1116. An American Cypress Farm Table, mid-to-late 19th c., Louisiana, two board top, dovetailed frieze drawer, square tapered legs, pegged construction, height 30 1/2 in., width 48 in., depth 29 in.

$400/600 1118. A Suite of Ten English Arts and Crafts Oak Side Chairs, late 19th c., designed by E.G. Punnett and executed by William Birch, High Wycombe, likely retailed

by Liberty’s, London; each with shaped back flanked by tapering ring-turned stiles, rush seat, conforming legs, box stretcher. $700/1000

$800/1200 1116 W denotes the lot is illustrated at www.nealauction.com

233

1119

1121

1121. An American Rococo Carved Mahogany Wardrobe, mid-19th c., foliate scrolled crest centered by a mask cartouche, paneled doors, divided interior of sliding trays and drawers, hanging compartment on one side, molded base, bracket feet, height 96 in., width 60 in., depth 21 in. $2500/3500 Provenance: Governor Oden Bowie (1826-1894), Fairview Plantation, Collington, MD. 1122 1119. Hunt Slonem (American/Louisiana, b.

1951), “Hutch”, 2009, oil on panel, signed, dated and titled en verso, 25 1/4 in. x 19 3/4 in., giltwood frame. $3000/5000

1120

1120. An Italian Rococo-Style Carved Carrara Marble Wall Fountain, mid-20th c., scrolled acanthus surround centering a quatrefoil reserve inset with copper water spigot, C-scrolled rimmed basin on fluted horseshoe shaped legs. $800/1200 Provenance: Private Collection, New Orleans, LA.

234

1122. A Pair of Neoclassical BronzeMounted Rouge Marble Pedestals, columnar form, octagonal plinth base, height 40 in., diameter 16 in. $1200/1800

1123

1126

1123. A Pair of Regency Mahogany Side Chairs, c. 1830, each with boldly carved crest rail, padded seat, reeded legs. $300/500 1124. A Blue Leather Chesterfield Sofa, tufted back, arms and seat, bun feet, upholstered in indigo blue leather, brass nail head trim, height 26 in., width 77 1/2 in., depth 33 in. $700/1000 1125. An American Late Classical Carved Mahogany Sofa, c. 1830-1840, New York, cylindrical volute crest rail, scrolled arms, molded seat rail, scrolled legs, casters, height 37 in., width 91 in., depth 24 in.

1124

$1500/2500 1126. An Antique American Mahogany Miniature Tester Bed, 19th c., baluster-turned posts, arched head and foot board, hand-stitched mattress and pillows, height 18 in., width 23 1/4 in., depth 14 1/4 in. $600/900 W 1127. An American

Classical Carved Mahogany Side Chair, early 19th c., tablet crest, acanthus and rosette carved slat, reeded stiles, slip seat, molded sabre legs.

1125

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

235

1128. Edward Everard Arnold (American/Louisiana, 1822-1866), “The TwoMasted Schooner Alexander Blue, Captain George B. Murray”, 1864, oil on canvas laid on board, signed, dated and inscribed “pinxit/ New Orleans” lower right, titled lower left, 25 in. x 30 in., framed.

1128

$8000/12000 Note: The Alexander Blue was registered in 1860 in Sippican, Maine. According to the New York Herald, the schooner left New York port headed for New Orleans on March 25, 1864 after being insured for the sum of $10,000 against war risk by the Union. Arnold painted the schooner in New Orleans, sometime in the spring or early summer of 1864, just over a year prior to his death in October of 1866. The ship also met its demise in 1866, as it was wrecked and destroyed on a trip from Boston to Richmond.

References: “Shipping News.” New York Herald March 25, 1864: 8; United States Court of Commissioners of Alabama Claims Records, 1882-1885, Volume 51: cxli; “Disasters Reported in January.” The Sailors’ Magazine and Seamen’s Friend August 1866, Vol. XXXVIII, p. 219.

1129. Nicola Marschall (American/Alabama, 18291917), “Portrait of General Robert E. Lee”, 1898, oil on canvas, signed and dated lower left under frame spandrel, 30 in. x 25 in., period gilt frame. $3000/5000 Provenance: Descended in an Alabama family.

Note: During the Civil War, Nicola Marschall was active in the Confederate Army, serving as a draftsman for the Second Alabama Engineers. He is reputed to be the creator of the first Confederate flag, The Stars and Bars, as well as the army’s gray uniforms. Following the war, he settled in Louisville, Kentucky, and established himself as the preferred portrait painter of the city’s Confederate veterans. The “Portrait of Robert E. Lee”, is a posthumous portrait of the Confederate General that represents a hallmark work of Marschall’s career.

Reference: Pennington, Estill Curtis. Lessons in Likeness: Portrait Painters in Kentucky and the Ohio River Valley, 1802-1920. Lexington: The University Press of Kentucky, 2010.

1129

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1131

1130

1130. American School, 19th c., “Portrait of President Zachary Taylor (1784-1850)”, c. 1846-1848, oil on canvas, unsigned, 30 in. x 25 in., framed. $3000/5000 Note: Zachary Taylor was born in Virginia to a prominent family of plantation owners, who moved to Louisville, KY after receiving a generous land grant. Keeping with the family tradition, Taylor married “Peggy” Smith- the daughter of a wealthy Maryland planter. By the mid 1820s, the family had expanded its landed properties into Mississippi and Louisiana, settling on a plantation just outside of Baton Rouge where Taylor was stationed at Fort Robertson.

By the time Zachary Taylor became the 12th president of the United States in 1849, he was one of the most popular men in America. He was a decorated general and war hero, who served in the War of 1812, the Blackhawk War (1832), the Second Seminole War (1837) and the MexicanAmerican War (1845-1846). Much of Taylor’s 40 year military career included the responsibility of defending and protecting the great Southwest during the most critical time of American Expansion. Taylor protected New Orleans’ ports during the Napoleonic Wars; he defeated the Seminole Indians in the Christmas Day Battle of Lake Okeechobee, and he secured the Louisiana/Texas border in 1845 before defeating the Mexican military during the pivotal battles for Texas.

Taylor is recognized as one of the most celebrated war heroes of the first half of the American 19th century. Newspaper accounts of the welcome home receptions he received, especially in the South, record the great success of the general and future president. One of the toasts to General Taylor at a party in Natchez, MS captures the bravado of the time:

1132

1131. Joseph Jefferson (American/Louisiana, 1829-1905), “Evangeline Under the Oak Tree”, oil on canvas, signed lower left, 14 in. x 20 in., period frame. $2000/3000 1132. Southern School, late 19th/early 20th c., “Bayou Scene with Moss Laden Trees”, oil on academy board, unsigned, 12 in. x 18 1/4 in., framed. $1200/1800

The Battle of Buena Vista: that eventual struggle, where the indomitable valor of four thousand Americans, in open field, achieved a glorious victory over a mighty host of twenty thousand Mexicans. History has yet to wait its parallel.

References: Bauer, K. Jack. Zachary Taylor: Soldier, Planter, Statesman of the Old Southwest.

Baton Rouge: LSU Press, 1985; “Gen. Taylor’s Reception at Natchez.” Times-Picayune Dec. 28, 1847: 4.

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

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1134

1135. A Mobile Coin Silver Cup, Alanson Knapp and Franklin A. Leslie, wc. 18501854, marked “KNAPP & LESLIE” in rectangle, paneled inverted bell-shaped body raised from center point, applied molded foot rim, scroll handle, script monogram “ACA”, height 3 1/8 in., weight 4.80 troy ozs. $400/600 Reference: Smith, Sidney Adair. Mobile Silversmiths and Jewelers, 1820-1867.

1133

1136

1136. A New Orleans Coin Silver Presentation Cup, Horace E. Baldwin, wc. New Orleans 1842-1853, marked “H.E.BALDWIN & CO.” in arc, over “NEW.ORLEANS” in rectangle, over “MANUFACTURERS” in arc, tapered cylinder with reeded bands, seamed construction, scroll handle, engraved “Presented to/ David White Russell/By his Grand Father/David B. White”, height 4 in., weight 4.50 troy ozs. $400/600 Reference: Crescent City Silver, pp. 92-93, mark illustrated p. 125.

1135

1133. A New Orleans Coin Silver Covered Cream Jug, Hyde & Goodrich, wc. 1828-1861, c.

1850, repoussé and chased decoration of railroad and figures in landscape, scroll cartouche engraved “FMB”, domed lid, foliate scroll handle, reticulated shell and scroll feet, height 8 1/4 in., weight 12.80 troy ozs.

1137

$1000/1500

$300/500 1138. An Ohio Coin Silver Agricultural Premium Cup, Cowles & Albertson, Cleveland, OH, act. 1849-1858, marked “COWLES & ALBERTSON/ CLEVELAND” incuse, engraved “Ohio State/Board of Agriculture/ Premium”, seamed construction, molded and beaded borders, scroll handle, height 3 3/4 in., weight 4.15 troy ozs.

Reference: Crescent City Silver, see p. 17 for a Hyde & Goodrich pitcher with landscape decoration and similar feet.

1134. A Rare Kentucky Coin Silver Sauce Ladle, George W. Snyder, Paris, KY, act. from 1803, marked “G S” in serrated rectangle, length 8 3/8 in., weight 2.20 troy ozs. $800/1200 Reference: Boultinghouse, Marquis. Kentucky Silversmiths, 1785-1900, pp.

253-255; a closely related sauce ladle is illustrated p. 255, pl. 72, mark illustrated p. 306 figs. 151A and 151B.

$300/500

1138

238

1137. An Ohio Coin Silver Agricultural Premium Cup, Hezekiah S. Sprague, act. Wooster, OH 1820-1829, Newark, OH, 1830-1865, marked “H.A.Sprague” in rectangle, footed baluster form, cartouche engraved “Ohio State/ Board of Agriculture/ PREMIUM”, scroll handle, height 4 in., weight 3.70 troy ozs.

1139

1140

1139. An American Coin Silver “Basket of Flowers” Pattern Ladle, Stebbins & Howe, New York, NY, c. 1835-1845, marked “STEBBINS & HOWE” Roman capitals in a rectangle on the back of upper handle, engraved “Pents” in script on upperface of handle, downturned fiddle with curved fins and a raised shell drop on back of elliptical bowl, length 13 3/8 in., weight 5.60 troy ozs. $700/900 1140. A Mobile Coin Silver Ladle, Alanson Knapp, wc.

1838-1867, marked “A.KNAPP” in rectangle, fiddle typt with rounded shoulders, script monogram “LCS” on reverse, length 13 1/8 in., weight 4.80 troy ozs.

1142

$400/600 Reference: Smith, Sidney Adair. Mobile Silversmiths and Jewelers, 1820-1867.

1141. Laura Woodward (American/Florida, 1834-1926), “Florida Landscape with Palm Trees”, watercolor on paper, signed lower left, 17 1/4 in. x 13 1/2 in., matted.

1141

1142. Marian Francis Acker Macpherson (American/ Alabama, 1906-1993), “Balcony, Old Mobile”, lithograph, signed and titled in lower margin, 3 1/2 in. x 2 1/2 in., framed. $500/700 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. Exhibited: Marian Francis Acker Macpherson: Etcher of Old Mobile, Mobile Museum of Art, 2010.

1143

$1200/1800 Note: Laura Woodward was one of the first artists to depict the dense jungle and hammock in the area of Florida that would become known as Palm Beach. A member of the St. Augustine art colony, in 1890 Woodward made an arduous journey of several days to get to Lake Worth, as Palm Beach was known at the time. When she arrived, she found the exotic tropical jungle she had been seeking. The area was full of coconut palm trees and dense vegetation that was traversed by narrow dirt paths teeming with wildlife. Woodward was inspired by the groves of coconut palms and other native flora and created a body of work depicting this newly developing area. The work offered here shows one of the dirt paths in Palm Beach cutting through a grove of coconut palms. It is representative of the vivid green palette she used in this period of her work, much brighter than in the landscapes she painted previously.

Reference: Pollack, Deborah, Laura Woodward: The Artist Behind the Innovator who Developed Palm Beach, Blue Heron Press, 2009.

1143. Caroline Durieux (American/Louisiana, 18961989), “Charlatan”, 1976, lithograph on paper, pencil-signed, dated and titled in lower margin, artist proof, edition of 10, sheet 17 3/4 in. x 15 1/2 in., unframed. $400/600 W 1144. Anne Wells Munger (American/Mississippi,

1862-1945), “Cottage Under the Live Oaks”, hand-colored woodblock print, signed in plate lower left, 4 1/2 in. x 5 3/4 in., framed. $150/250 Provenance: Estate of Major Philip St. George Ambler IV. W denotes the lot is illustrated at www.nealauction.com

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1146

1148 1147

W 1145. Anne Wells Munger (American/Mississippi,

1862-1945), “Smiling glints the sea, Thru suntouch’d seamed old oaks”, “Docked - at the days end”, “Lighted windows under lace-patterned oaks” and “Lavender sky, rose tints on sea - Gold Touched boats at twilight”, four woodblock prints on paper, first pencil-signed and titled in lower margin, all signed in plate, three titled in ink in lower margin, sheet 9 in. x 7 in. or 7 in. x 9 in., unframed; together with two vintage photographs: Southern School, “Anne Wells Munger (Mrs. Wm.), artist in Pass Christian and Cape Cod”, silver gelatin print, titled en verso, 6 1/4 in. x 4 1/2 in., and Joseph Woodson “Pops” Whitesell (American/New Orleans, 1876-1958), “Will H. Moses”, 1922, silver gelatin print, “Whitesell, Mattoon, Illinois” printed en verso, titled and dated lower right, 3 1/4 in. x 3 in., paper sleeve, (6 pcs.) $200/400 Provenance: Estate of Major Philip St. George Ambler IV.

240

1146. William “Bill” Ralph Dunlap (American/Mississippi, b.

1944), “Valley Series - Winter Light”, 1983, oil on paper, signed and dated lower right, titled lower left, 23 1/2 in. x 70 1/2 in., framed. $2000/3000 1147. Clementine Hunter (American/Louisiana, 1886-1988), “Leading a Chicken”, oil on board, monogrammed lower right, 16 in. x 16 in., framed. $3000/5000 1148. Clementine Hunter (American/Louisiana, 1886-1988), “Wash Day”, oil on board, monogrammed mid-right, 17 3/4 in. x 23 3/4 in., framed. $3000/5000

1149. Alexander John Drysdale (American/New Orleans, 1870-1934), “Louisiana Bayou Landscape with Oak”, oil wash on academy board, signed lower left, 10 in. x 29 7/8 in., framed. $2500/3500 1150. Alexander John Drysdale (American/New Orleans, 1870-1934), “Louisiana Live Oak”, 1931, oil wash on academy board, signed and dated lower left, 12 in. x 25 1/2 in., framed.

1149

$2000/3000 1151. Alexander John Drysdale (American/New Orleans, 1870-1934), “Live Oak Trees, Louisiana Bayou”, 1917, oil wash on board, signed and dated lower right, 7 1/4 in. x 9 in., framed. $1200/1800 1152. Alexander John Drysdale (American/New Orleans, 1870-1934), “Louisiana Bayou Landscape”, oil wash on paper, signed lower left, 6 in. x 20 1/4 in., framed.

1150

$1200/1800 1153. Alexander John Drysdale (American/ New Orleans, 18701934), “Live Oak and Cypress Trees”, oil wash on board, signed lower left, sight 13 5/8 in. x 21 1/2 in., framed. $1800/2500

1152

1151

1153

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

241

1154

1155

1155. Robert M. Rucker (American/Louisiana, 19322001), “Two Women by the Flower Beds”, oil on canvas, signed lower right, 24 in. x 30 in., framed. $1500/2500 1156. Clementine Hunter (American/Louisiana, 18861988), “Christmas Tree”, oil on board, monogrammed lower right, 23 3/4 in. x 16 in., framed. $2500/3500 Provenance: The Kristina Barbara Johnson Estate, Princeton, NJ. 1157. Roy Martell Mason (American, 1886-1972), “Patio on Royal St., New Orleans, Louisiana”, 1939, watercolor on paper, signed and dated lower right, titled en verso, 21 3/4 in. x 15 in., framed.

1157

$500/700 1156 1158. Julia M. Massie (American/ Mississippi, 1869-1949, active New Orleans, 18801920), “Dusk from the Edge of Town”, oil on canvas, signed lower right, 14 in. x 18 in., cypress frame.

1154. Robert M. Rucker (American/ Louisiana, 1932-2001), “Louisiana Farm with Wagons in the Field”, oil on canvas, signed lower right, 23 3/4 in. x 30 in., framed. $2500/3500 Note: After a bout with polio as a teenager, Robert Rucker was given special funding by the Louisiana Department of Education to attend the John McCrady School of Fine Arts in New Orleans. Here he honed his artistic skills and developed an iconic style of capturing Louisiana’s golden past. Rucker’s “Louisiana Farm with Wagons in the Field,” reflects the tradition of Southern landscapes pioneered by artists such as Richard Clague and William Henry Buck.

Reference: Bragg, Jean, Vicki Stanwycks, et al. Down on the Levee, Robert Malcolm Rucker, Painter of Louisiana. New Orleans: Jean Bragg Gallery, 2003.

242

$1000/1500 1158

1159. Rolland Golden (American/ Louisiana, b.

1931), “In the Cemetery”, 1970, acrylic on canvas, signed and dated lower right, 34 in. x 42 in., framed. $1500/2500 1160

1159

1162

1161

1160. Edward von Siebold Dingle (American/South Carolina, 1893-1975), “Cardinal on a Holly Branch”, watercolor on paper, signed lower right, sight 11 1/2 in. x 8 7/8 in., framed. $1200/1800 Provenance: Purchased from the artist by the present owner in 1943.

1161. Alexander Drysdale (American/New Orleans, 18701934), “Live Oak, Louisiana Bayou”, oil wash on board, signed lower left, sight 19 1/2 in. x 29 1/2 in., period frame. $2000/3000 Provenance: Acquired from Howard Buechner, M.D., New Orleans, author of Drysdale, Artist of Myth and Legend, Thunderbird Press, Inc., Metairie, 1985.

1162. Alexander Drysdale (American/New Orleans, 1870-1934), “Live Oaks, Louisiana Bayou”, oil wash on board, signed lower left, sight 19 1/2 in. x 29 1/4 in., period frame. $2000/3000 Provenance: Acquired from Howard Buechner, M.D., New Orleans, author of Drysdale, Artist of Myth and Legend, Thunderbird Press, Inc., Metairie, 1985.

1163. Leslie Cope (American, 1913-1992), “Old Covered Bridge”, 1946, oil on board, signed and dated lower right, 16 in. x 20 1/8 in., framed.

1163

$800/1200 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. W denotes the lot is illustrated at www.nealauction.com

243

W 1164. Theodore “Fonville” Winans (American/Louisiana,

1168. John James Audubon (American, 1785-1851), “Louisiana Water Thrush”, Plate 19, from The Birds of America, handcolored aquatint with engraving, Havell edition, the elephant folio paper watermarked “J.Whatman/Turkey Mill”, sheet 38 in. x 25 in., matted and framed.

1911-1992), “Four Happy Negros, St. Francisville, LA”, 1939, printed 1991, silver gelatin print, signed and dated lower right, titled, dated, and inscribed en verso, 16 in. x 20 in., unframed. $600/900

$1200/1800

Reference: Illustrated in Tassin, Myron. Nous Sommes Acadiens/We Are Acadians. Gretna: Pelican Publishing, 2011, p. 57.

W 1169. John James Audubon

W 1165. Joseph Woodson

(America, 1785-1851), “Cotton Rat”, Plate 30, from The Viviparous Quadrupeds of North America, hand-colored lithograph, sheet 20 3/4 in. x 27 1/8 in., framed.

“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.)

$500/700 W 1170. [Antique Print of

New Orleans’s Levee], “Art Supplement to Appleton’s JournalThe Levee at New Orleans”, 1869, wood engraving by John Karst after A.R. Wood, 8 1/2 in. x 26 3/4 in., matted and framed.

$400/600 Provenance: Estate of photographer C.F. Weber (New Orleans, d. 1971) seated in these images; to Joe Bergeron; to current collector.

1167 (1 of 4)

W 1171. A Pair of HandColored Lithographs of Native American Chiefs, “Ah quee we zaints/The Boy” and “Not een a akm/The Strong Wind”, 1844, published by Harris, London, 1844, sight 7 in. x 4 3/4 in., oval mat, framed.

W 1166. Joseph Woodson “Pops”

Whitesell (American/New Orleans, 1876-1958), “Juanita Gonzales”, silver gelatin print, “A Gallery of Fine Photography” label en verso, 15 3/4 in. x 12 3/4 in., framed; and “Studio Party at Whitesell Studio”, silver gelatin print mounted to board, signed, titled, and inscribed “To two of my best friends, Pops Whitesell” on lower margin, “Dixie Art Supplies” label en verso, 14 3/4 in. x 17 in., framed, (2 pcs.)

$300/500 W 1172. An Antique Lithograph of

Andrew Jackson, c. 1870, possibly after the portrait by George Healy done 1845, published by William Smith, 702 South Third Street, Philadelphia, sheet 25 3/4 in. x 21 in.

$400/600 Note: New Orleans photographer, Pops Whitesell, was known for his abilities at group photography, demonstrating his techniques in this charming photograph of a gathering of his friends and fellow photographers in “Studio Party at Whitesell Studio”.

After graduating from Newcomb College, Juanita Gonzales (1902-1935) studied with the avant garde cubist sculptor Alexander Archipenko. Returning to New Orleans, Gonzales opened a studio on Governor Nicholls Street in the French Quarter and created innovative clay sculptures and pottery. Tragically, she died at 33 years old, after a prolonged illness.

1167. Daniel Giraud Elliot/Publisher, “Kunalee Grouse”, “White-Tail Ptarmigan”, “Spitzbergen Ptarmigan” and “Hazel Gouse”, four hand-colored lithographs by Elliot and Joseph Wolf, from the folio A Monograph of the Tetraoninae, or Family of the Grouse, New York, 1864-65, printed and colored by Bowen & Co., Phil., sheet 17 7/8 in. x 22 7/8 in., framed, (4 pcs.). $1200/1800

244

$150/250

$300/500 W 1173. Theodore Poleni/

Lithographer, “Independence Hall, Philadelphia 1876”, hand-colored lithograph, published by Thomas Hunter, Philadelphia, 14 1/2 in. x 20 1/2 in., sheet 19 3/4 in. x 26 in., matted and framed. $300/500 1168 W 1174. Morris Henry Hobbs

(American/New Orleans, 18921967), “St. Louis Cathedral, Jackson Square, Old New Orleans”, postage stamp etching on paper, pencil-signed and inscribed lower margin, 1 1/2 in. x 1 1/4 in., framed. $150/250

W 1175. Dell

Weller (American/New Orleans, b.

1927), “Sweet Emma and the Preservation Hall Band”, oil on masonite, signed lower right, 18 in. x 24 in., framed. $400/600 W 1176. Sigmond

Russell (Sigmund G. Roessle) (American/New Orleans, c. 18541907), “Life along the River: Southern Homestead and Live Oak Tree with Spanish Moss”, pencil drawing on paper, pencil-signed “Russell” en verso, 11 in. x 14 1/4 in., period gilt frame.

1177

1181

$400/600 Note: The New Orleans born artist, Sigmond Russell, was a fresco painter and worked as a scenic painter for the Academy of Music. He was also known as Sigmund G. Roessle and jointly owned Edgar & Roessle scenic painting company in 1889.

Reference: Mahe, John, ed., Encyclopaedia of New Orleans Artists, 17181918, The Historic New Orleans Collection, 1987, p. 329.

1177. Homer E. Turner (American/ Louisiana, 1898-1981), “Wash Day”, 1936, oil on canvas board, signed and dated lower right, titled, signed and dated en verso, 9 in. x 13 in., framed. $800/1200 W 1178. Elaine Schwartz Kolp (American/

New Orleans, 1921-2005), “Rainy Day, Pass Christian”, oil on canvas, signed lower right, 24 in. x 20 in., framed. $300/500

1182

W 1180. Victoria S. Barnett

(American/Alabama, late 20th c.), “A French Trader Comes to Apalachee Old Town” and “Pre-Historic Square Maize Mound, Blakeley, Ala. (From N.W.), Post Construction Occupation”, 1988, two watercolors, the former signed and inscribed “After Tanner” lower right, titled lower center; the latter signed, titled and inscribed “after Tanner” lower center, dated lower left, “Tacon Station & Art Gallery, Mobile, AL” labels en verso, each sight 11 1/4 in. x 17 1/2 in., matching rustic frames, (2 pcs.) $400/600 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

W 1179. Margaret Witherspoon (American/

New Orleans, 1914-2005), “Praying Figures”, 1968, and “Reclining Figures”, 1967, two pen and ink drawings, both signed and dated lower right, sight 9 1/2 in. x 9 1/4 in. and 8 in. x 6 in., matching frames; accompanied by an exhibition catalogue Margaret Witherspoon: Portraits from Seven Decades, The Ogden Museum of Southern Art, New Orleans, LA, 2004 and biographical materials. $300/500

1183

1181. Robert M. Rucker (American/Louisiana, 1932-2001), “Pirate’s Alley” and “French Quarter Street”, two watercolors on paper, each signed lower right, sight 14 in. x 5 in., matted and framed. $800/1200

1182. Southern School, late 19th c., “Moonlight Camp Scene”, oil on canvas, unsigned, 22 1/4 in. x 36 1/8 in., framed. $800/1200 1183. Emmitt Thames (American/ Mississippi, b. 1933), “Along the Bayou” and “Quiet Morning”, 1970, two pencil drawings, signed and dated lower left and right respectively, typewritten artist labels with titles en verso, sight 8 in. x 11 7/8 in., in matching frames, (2 pcs.) $700/900 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

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

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1185

1187

1185. Southern School, mid-19th c., “A Member of the Fagot/Malus/Jacobs Family, of Constancia Plantation (Uncle Sam Plantation), St. James Parish”, oil on canvas, unsigned, handwritten inscription “Sarah Jacobs, Uncle Sam Plantation, 1847” en verso, 30 in. x 25 in., framed. $2000/3000 1186. A Fine Pair of Gilt Brass and Patinated Metal Figural Three-Light Gasoliers, mid-19th c., Cornelius & Baker, Philadelphia, anthemion canopy, rope-twist supports terminating in serpents, central crane mount, fluted arms, original crane motif etched glass shades, height 44 1/2 in., width 20 in. $3000/5000

1186

W 1184. Leslie Cope (British/American, 1913-2002), “Loading

the Horse Drawn Wagon”, 1948, watercolor and crayon on paper, signed and dated lower right, sight 12 in. x 16 1/4 in., framed. $200/400 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

246

1187. A Pair of American ClassicalStyle Gilt Bronze Seven-Light Sconces, mid-20th c., with the eagle shield of the State of Mississippi on backplate base, electrified, height 37 1/2 in., width 26 in., depth 13 in. $2000/3000

1188

1189

1190. A Musical Big Ben Picture Clock, c. 1900, clock with a musical movement that plays on the quarter hour, nocturnal scene embellished with mother-of-pearl, showing the River Thames with houses of Parliament and Big Ben, 22 1/2 in. x 17 1/2 in.

1191

$1000/1500 1188. A Large American Rococo Carved and Gilded Mirror, mid-19th c., the crest with foliatecarved floral cartouche, floral scroll surround, shaped mirror plate, height 81 1/2 in., width 50 in. $2000/3000 1189. A Monumental French Neoclassical-Style Gilt Mirror, fluted cornice, oval mirror plate within a molded surround with masque crest and foliate garlands, height 89 1/4 in., width 56 1/2 in. $3000/5000

1190

1191. An American Classical Carved Mahogany Games Table, early 19th c., Boston, foldover top, concave frieze, tapered standard terminating in a large spherule, arched water leaf carved sabre legs ending in brass paw feet, casters, height 29 in., width 35 in., depth 18 in. $700/1000

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

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1193

1192

1192. An American Federal Mahogany Washstand, late 18th/early 19th c., scalloped gallery top, deep drawer, side compartment, incurvate shelf, square molded legs. $800/1200 1193. A Georgian-Style Carved Mahogany Extension Dining Table, 19th c., gadrooned oval top with crank mechanism, molded frieze, eagle carved cabriole legs, ball and claw feet, height 29 in., length 94 1/4 in., width 44 in., with two leaves.

1194

$1500/2500 1194. An English Carved Mahogany Linen Press, mid-19th c., possibly Johnstone & Jeanes, London, breakfront case with molded edge top, two paneled doors flanked by banks of four drawers, turned and reeded feet, height 46 1/2 in., width 92 in., depth 23 in. $1500/2500 1195. A Suite of Eight Antique Chippendale-Style Carved Mahogany Dining Chairs, 19th c., comprised of two arm and six side chairs, foliate carved crest rail with scrolled ears, entwined pierced splat, molded trapezoidal slip seat, acanthus carved cabriole legs, ball and claw feet. $1500/2500 Provenance: Estate of Madelyn C. Kreisler; to Joel N. Weinstock, New Orleans.

1195

248

1197

1196

1198

1196. A William IV Mahogany Breakfront Bookcase, c. 1835, molded cornice, glazed doors, three frieze drawers, arched paneled doors, plinth base, height 96 1/2 in., width 72 1/2 in., depth 24 in. $1000/1500 1197. Belgian School, 19th c., “Grazing Cows”, oil on canvas, signed “Schouten” lower right, 32 1/2 in. x 46 1/4 in., framed. $1000/1500 1198. Belgian School, 19th c., “Chickens”, oil on canvas, signed “Schouten” lower right, partial Brussels auction house label en verso, 21 3/4 in. x 31 3/4 in., antique frame. $1000/1500

1199

1201

1199. A Victorian Carved Marble Columnar Pedestal, fluted standard, plinth base, height 39 1/2 in., width 9 1/4 in., depth 9 1/4 in. $700/1000 W 1200. A Louis XVI-Style Carved Giltwood Torchère, 20th c.,

circular beaded top, beribboned swags, bellflower carved legs, stretcher shelf, flared feet, height 45 in., width 11 1/2 in. $400/600 Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL. 1201. A Louis XVI Carved and Verte Peinte Mirror, late 18th c., molded beaded frame, antique mirror plate, height 43 in., width 25 1/4 in. $800/1200 Provenance: Robert Smith, Breaux Bridge, LA, February 1999.

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

249

1203

1205. A French Empire-Style Mahogany and Bronze-Mounted Sécrétaire à Abattant, late 19th/ early 20th c., blocked frieze, fall front lid, fitted desk interior, three drawers flanked by columns, blocked base, ball feet, height 49 3/4 in., width 41 3/8 in., depth 23 1/4 in.

1202

$1000/1500 W 1206. A French

1205

1207

1202. A Louis XVI-Style Carved and Gilded Mirror, urn and swag crest, molded surround flanked by bellflowers, dolphin pendants; associated console with serpentine marble top, conforming frieze, cabriole legs, foliate stretcher, mirror height 53 1/4 in., width 28 3/4 in; console height 31 in., width 31 in., depth 12 1/2 in. $800/1200

1203. A Louis XV-Style Rosewood, Kingwood and Marquetry Bedstead, early 20th c., arched molded crest rail, urn and acanthus scroll inlaid panel, conforming low footboard and shaped rails, height 56 in., interior length 78 1/2 in., interior width 58 in. $500/750 W 1204. A French Empire-Style Bronze-

Mounted Mahogany Dressing Chest, late 19th/early 20th c., rectangular beveled mirror on tapered supports, outset frieze of short drawers over columns, flanking three long drawers, ball feet, height 65 1/2 in., width 50 in., depth 22 in. $800/1200

250

Empire-Style BronzeMounted Mahogany Dressing Table, late 19th/early 20th c., rectangular beveled mirror on tapered supports, frieze drawers over columns, incurvate stretcher shelf, ball feet, casters, height 56 in., width 38 1/2 in., depth 20 in. $700/900 1207. A Louis XV-Style Gilt Bronze-Mounted Parquetry Commode, serpentine Breccia marble top, conforming case with two doors, shelf interior, cabriole legs, sabots, height 32 1/2 in., width 33 in., depth 16 in. $400/600

1208. A Louis XVI-Style BronzeMounted Kingwood Parquetry and Marquetry Demilune Commode, late 19th/early 20th c., sienna marble top above three drawers flanked by swing out drawers and doors, tapered legs, height 34 in., width 43 1/2 in., depth 21 in.

1208

$500/700

1210

Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL. W 1209. An Edwardian

Satinwood and Rosewood Banded Bowfront Cabinet, c. 1900, two frieze drawers over doors, shelf interior, “French” feet, height 36 1/2 in., width 41 in., depth 16 1/2 in. $400/600 1210. A Hispano-Moresque Carved Oak and Wrought Iron Mounted Chest, 18th/19th c., molded lid, dovetailed case, now fitted with Garrard vintage turntable and Kenwood receiver, on later ebonized stand, height 33 in., width 38 in., depth 19 in.

1211

1214

$400/600 1213. A Pair of Antique Louis XV-Style Carved Walnut Fauteuils, 19th c., molded floral crest, padded back, arms and seat, acanthus carved cabriole legs.

1211. A Louis XV-Style Crème Peinte Chaise Longue, 20th c., carved shell crest, barrel back, padded scrolled arms, loose seat cushion, cabriole legs, height 32 1/2 in., length 59 in., depth 29 1/2 in.

$700/1000 1214. A Decorative Silverplate LighthouseForm Cocktail Shaker, tapering cylindrical form with removable cover, spurious marks, height 14 1/4 in.

$500/1000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 1213

$600/900 W 1212. A Pair of Louis XV-Style Crème Peinte and Parcel

Gilt Benches, 20th c., serpentine molded seat rail, cabriole legs, height 19 1/2 in., width 37 in., depth 17 in. $300/500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. W denotes the lot is illustrated at www.nealauction.com

251

1215. An English Rosewood Gaming Box, 19th c., fitted for checkers and backgammon, tooled green leather interior, with matching dice rollers, folded height 4 1/4 in., width 18 1/4 in., depth 10 3/4 in. $600/900 W 1216. A Decorative Tapestry of the Unicorn at the

Fountain, 20th c., printed on cotton, depicting the unicorn purifying the waters, based on the 16th c. Flemish original conserved at the Metropolitan Museum of Art, height 91 in., width 92 in.

1215

$200/400 W 1217. A Decorative French

Tapestry of “The Bird Market”, 20th c., printed on cotton and linen, after the 18th c. original produced by the Aubusson Royal Manufactory, height 91 in., width 77 in. $200/400 1218. Arnold Genthe (German/ American, 1869-1942), “Peasant Woman”, silver gelatin print, signed lower right, titled lower left, image 13 in. x 9 7/8 in., framed. $1200/1800 1219. Edmund Blume (German, 1844-1911), “Young Mother with Child”, oil on canvas, signed lower right, 36 in. x 26 1/8 in., framed.

1218

1220

$1200/1800

1221

1220.

Continental School, mid-tolate 19th c., “Old Man Sitting on Parapet of a Bridge in Paris”, 1883, grisaille oil on canvas, indistinctly monogrammed lower right, dated, monogrammed and inscribed “Paris” en verso, “Home Art Gallery, NY” label en verso, 21 in. x 15 1/8 in., framed. $700/900

1221. Johann Heinrich Wüst (Swiss, 1741-1821), “Upland Landscape: Cottage, Shepherds and Sheep”, c. 1770, oil on cradled wood panel, signed and dated lower mid-right, 20 1/2 in. x 28 3/4 in., framed.

1219

252

$1500/2500

1222. Greek School, 19th c., “Inspecting the Tomb after the Resurrection”, oil on panel, 24 in. x 17 1/4 in., unframed. $800/1200 1223. Dutch School, 19th c., “Figures Beside a Millpond, on the Outskirts of a Village”, oil on canvas, unsigned, former owner label en verso, 21 1/2 in. x 27 1/8 in., antique gilt frame.

1222

1223

$700/900 1224. British School, 19th c., “Cows Walking by the Stream”, oil on canvas, unsigned, London canvas stencil en verso, 19 3/4 in. x 30 in., framed. $600/900 1225. British School, 19th c., “Saddlebred”, 1904, oil on canvas, signed “A.R. Rust” and dated lower right, 33 3/4 in. x 42 in., gilt frame.

1224 1225

W 1228. A Pair of English Polychrome and Gilt

Porcelain Vases, 19th/20th c., apple green ground, opposing putto painted reserve, height 13 1/2 in. $250/350

$500/700

W 1229. A Coalport Porcelain and Silver-

W 1226. Arthur

Briscoe (British, 1873-1943), “The Gale”, 1926, etching on paper, signed lower right, signed, titled and dated in plate lower right, numbered “14/75”, plate 9 7/8 in. x 13 5/8 in., framed. $300/500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

Mounted Bottle, c. 1895, marked, the reserves painted with a highland landscape and floral spray, height 5 in.

1227 (1 of 3)

$150/250 W 1230. Eleven Whiting “Lily” Pattern Sterling

1227. Three Antique Continental Hand-Colored Engravings of Processions, 18th/19th c., from 6 3/4 in. x 10 1/4 in. to 6 7/8 in. x 12 3/4 in., matted and framed alike.

Silver Salad/Dessert Forks, pat. 1902, ret. A.M. Hill, New Orleans, wc. 1874-1909; together with a similar teaspoon, all monogrammed “H”, and a Frank Whiting sterling silver baby cup, combined weight 16.35 troy ozs., (12 pcs.)

$1000/1500

Provenance: Descended in the family of Louisiana Governor William Wright Heard (1853-1926).

$300/500

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

253

1233. A Reed & Barton “Love Disarmed” Pattern Sterling Silver Salad Serving Fork and Spoon, pat.

1899, length 10 1/2 in., weight 14.35 troy ozs. $800/1200 1234. An American Arts and Crafts Sterling Silver Water Pitcher, Whiting Mfg. Co., New York, wc.

1866-1926, date mark for 1912; hammered surface, height 9 in., weight 31.35 troy ozs.

1232

1231

$800/1200 W 1235. An Antique

Silverplate and Cut Crystal Centerbowl, late 19th c., the strawberry and strawberry leaf stand fitted with cut crystal bowl with everted rim.

1233

$700/1000

1234

1236. An American Sterling Silver Grape Stand, Redlich & Company, New York, wc.

1895-1945, in the form of a grapeleaf with grapevine form handle, with grape shears, stand height 8 in., length 12 1/4 in., weight (weighable) 22.5 troy ozs. $700/900 1237. A Chinese Export Tien Shing Silver Goblet, Hong Kong, 1875-1900, deep circular bowl with allover repoussé chased bamboo and applied bamboo stalks rising from a circular slightly domed base; vacant shield reserve on side of bowl, height 8 3/8 in., weight 10.90 troy ozs.

1236

1231. A Gorham Sterling Silver Revere Bowl, date mark for 1949, #41659, height 4 in., diameter 7 1/2 in., weight 18.05 troy ozs.

$300/500

$500/800 1232. A Pair of Ellis Barker Silverplate Wirework and Cobalt Glass Garniture Coupes in the Regency Taste, height 7 in. $300/500

254

W 1238. A Neoclassical-Style

1237

Patinated Bronze Twelve-Light Chandelier, fluted columnar standard, scrolled support over acanthine bell, pineapple pendant, height 29 in., diameter 23 in. $600/800

1239. An American Cut Crystal Ten-Light Chandelier, 20th c., made by Grothan Oertling, New Orleans, urn support, fluted arms, hung with pendeloque prisms and beaded garland, spherule pendant, height 36 in., diameter 38 in. $2000/3000 1240. A Neoclassical-Style Gilt and Patinated Bronze Figural Lamp, maiden holding cornucopia standard, on tall marble base, turned feet, height 19 in., diameter 5 1/2 in. $500/700 1239

1240

W 1243. A William IV

Chinoiserie Work Table, 19th c., top with chamfered corners, frieze drawer with satinwood fitted interior, ebonized stand with turned support, scrolling legs, height 29 in., width 21 in., depth 16 in. $500/700

1241

1241. A Pair of Paris Porcelain Gilt and Polychrome Vases, c.

1860, reticulated gilt handles, the reserves painted with Chinese genre scenes, the reverse with a bird, now mounted as lamps, height 14 1/4 in., width 8 1/4 in., depth 5 in.

W 1244. A Pair of Regency Ebonized, Paint Decorated and Bronze-Mounted Side Chairs, early 19th c., turned crest rail, tablet slat, shaped stiles, rounded seat rail, sabre legs. Note: Condition.

$250/350

$600/900 Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL.

French Porcelain and Gilt Bronze Carcel Lamps, c. 1870, vermilion ground reserved with gilt roundels containing female busts in profile, clear glass chimneys, height 18 in., diameter 7 in.

1245. An Edwardian Inlaid Mahogany Secretary Bookcase, c.

1900, in the Georgian Taste, broken pediment centered by a brass finial over astragal glazed doors enclosing adjustable shelves, slant front opening to a fitted desk interior, two short over three graduated drawers below, bracket feet; the whole extensively inlaid with cornucopia, urn, bellflower swags and banding, height 90 in., width 37 in., depth 20 in.

$200/400

$1200/1800

W 1242. A Pair of Antique

1245

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

255

1249. A Neoclassical-Style Specimen Marble Table, circular top with central compass star, white marble Corinthian columnar base, height 31 in., diameter 41 3/4 in. $800/1200 1250. A French Provincial Carved Oak Petite Armoire, early 19th c., molded cornice, shaped raised panel doors, shelf interior, on blocked feet, height 60 1/2 in., width 50 1/2 in., depth 22 in. $700/1000 1246

1247

1249 1248

1246. A George III Mahogany Bachelor’s Chest, c. 1780, dressing slide, two short over three graduated drawers, molded base, shaped bracket feet, height 36 1/2 in., width 36 1/2 in., depth 18 1/2 in. $800/1200 1247. A Dutch Carved Walnut Cabinet-Maker’s Apprentice Scale Model Cabinet, 18th/19th c., arched crest, glazed doors, bombé case, three drawers with gilt pulls, on bun feet, height 36 in., width 26 in., depth 6 1/2 in. $800/1200 1248. A Louis XV-Style Ebonized and Bronze-Mounted Bureau Plat, 20th c., serpentine top, frieze with three drawers, cabriole legs, height 29 1/4 in., width 54 1/2 in., depth 27 1/2 in. $500/1000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

1250

256

1251. An Antique French Provincial Oak Buffet à Deux Corps, molded cornice above raised panel doors, shelf interior, base with two doors with center fluted panel, shaped base, blocked feet, height 87 in., width 55 in., depth 20 in. $1000/2000 1252. A Pair of Turkish Motherof-Pearl Inlaid Turban Holders, late 19th/early 20th c., arabesque carving, scalloped shelf, height 30 in., width 10 1/2 in., depth 7 in.

1252

$800/1200 W 1253. A

Continental Découpage Sewing Box, 19th c., beveled lid, turned knobs, marbleized paper interior, height 4 in., width 14 in., depth 8 in.

1251

$300/500 W 1254. An

English Onyx Urn, early 19th c., stepped blocked base on brass base, ball feet, now mounted as a lamp, urn height 10 in., width 3 1/2 in., depth 3 1/2 in.

1255

1255. An Antique Persian Rug, possibly Isphahan, light brown and navy blue ground, central geometric and floral medallion, stylized geometric border, 4 ft. 6 in. x 6 ft. 8 in.

$300/500

$1200/1800 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 1256. A Persian Sultanabad Carpet, crimson ground, floral central field, cream border, 6 ft.

9 in. x 8 ft. 9 in.

1256

$2500/3500

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

257

1257

1258

1262. An English Innovative Walnut Folding Chair, c. 1900, after a design attributed to James Herbert MacNair, leather sling back and seat, padded arms, shaped supports, downswept legs, “Army & Navy Stores Calcutta” metal plaque. $800/1200 1263. A George III Rosewood Inlaid Mahogany Pembroke Table, late 18th c., oval drop-leaf top, frieze drawer, square tapered legs, cuff casters, height 29 in., width 23 in., depth 30 in.

1262

$800/1200 1257. A Persian Sultanabad Carpet, dark cream ground, overall stylized blue floral motif, blue rimmed borders, 9 ft.

8 in. x 12 ft. 2 in. $2500/3500 1258. A Semi-Antique Turkish Kula Rug, blue and red ground, 3 ft. 6 in. x 5 ft. 1 in.

1263 W 1264. A W 1260. A Persian Hamadan Runner, dark

navy blue ground, overall floral motif, red border, 4 ft. 1 in. x 9 ft. 4 in. $700/900

$700/1000

W 1261. A Northwest Persian Runner,

Provenance: Acquired from Behbooy Export and Import Corporation, Dallas, TX, 1983.

crimson ground, central field with repeating hexagon pattern, corners with camel figures, stylized cream border, 3 ft. 3 in. x 9 ft. 9 in.

W 1259. A Caucasian Carpet, red ground, blue border, 2 ft.

4 in. x 3 ft. 4 in. $400/600 Provenance: Acquired from C.J. Larson, 1986.

258

$600/800

Regency-Style Mahogany Three Pedestal Dining Table, vasiform pedestals with reeded saber legs, cuff casters, height 29 1/2 in., length 100 in., width 46 in. $800/1200

1265

1267

1267. An American Late Classical Mahogany Tall Post Bed, c. 1830-1840, probably Mississippi River Valley, round tapered columnar posts over pedestals with concentric bosses, headboard with three arched panels, height 104 in., interior length 84 in., interior width 59 1/2 in.

1266

$3000/5000

1265. An American Classical Carved Mahogany Chest of Drawers, early 19th c., scrolled backsplash, two drawer superstructure, bolection-molded outset drawer over three drawers flanked by spiral-turned columns, tall turned feet, height 52 7/8 in., width 40 3/4 in., depth 19 1/2 in. $500/800

Provenance: Sold Neal Auction Company onsite at Bocage Plantation, Darrow, LA, December 8, 2007, as lot 129.

1266. An American Classical Carved Mahogany Chest of Drawers, 19th c., New England, superstructure with shaped backsplash and two short drawers, outset drawer above three long drawers flanked by spiral-turned columns, turned legs, height 53 in., width 41 in., depth 20 in.

1268. An American Rococo Carved Rosewood Duchesse 1268 Dressing Table, mid19th c., oval mirror on C-scroll supports, shaped marble top, conforming frieze drawer, cabriole legs with female Native American term figures, padded stretcher, height 69 in., width 43 1/2 in., depth 25 in.

$400/600

$800/1200 W denotes the lot is illustrated at www.nealauction.com

259

W 1275. Two

Antique Acadian Rag Cloth and Cotton Blankets, early 20th c., each of multicolored striped design, constructed in two panels; red and blue striped, 64 in. x 71 in.; multicolored striped, 53 in. x 68 1/2 in. $300/500 1269 W 1276. Three

Crewelwork Foliate Panels, 18th/19th c., sight diameter 11 in., tripartite Empire style gilt composition frame. $250/350

1270

Provenance: Estate of Lee B. Anderson.

W 1271. An Antique American

Wool and Linen Jacquard Coverlet, 19th c., single weave, in cream, dark blue and red. $150/250 W 1272. An Antique American

Needlepoint on Silk, depicting a group of young girls outside a farm house, 28 3/4 in. x 33 3/4 in., period gilt frame. $150/250 W 1273. An American Jacquard

1279

1269. An American Classical Carved Mahogany Pier Table, early 19th c., gray marble top, frieze with rosette blocks, scrolled supports ending in paw feet, mirrored back, incurvate plinth base, height 34 in., width 36 in., depth 17 in.

Coverlet, mid-19th c., signed “Mathias Klein” and dated “1845”, geometric and floral designs in rose, blue and gold, swag border on two sides with two-headed eagle holding arrows, height 84 in., width 76 in.

Note: condition. $150/250

$800/1200 W 1274. Two Antique Acadian

1270. An American Rococo Carved Rosewood Dressing Table, mid-19th c., probably New Orleans, shaped mirror, scrolled acanthus supports, serpentine variegated marble top, conforming frieze fitted with a drawer, scrolled brackets, incurvate stretcher shelf, molded feet, casters, height 73 in., width 44 in., depth 21 1/2 in. $800/1200

260

Rag Cloth Blankets, early 20th c., one of blue striped design; the other with warp thread bands, both constructed in two panels; 68 in. x 77 in. and 66 in. x 80 in., respectively. $300/500

Illustrated: Calloway, Obsessions: Collectors and Their Passions, p. 61.

W 1277. A Needlepoint and

Beadwork of a White Cockatoo, 19th c., sight 11 3/4 in. x 10 in., later molded giltwood frame, Note: Condition; together with an antique beadwork cushion, 17 in. x 18 in. $150/250 Provenance: Estate of Lee B. Anderson.

W 1278. 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. $250/350 1279. An American Carved Walnut Clerk’s Desk, 19th c., three quarter gallery with carved crest, paneled fall front, fitted interior, frieze drawer, turned legs, height 59 1/2 in., width 34 in., depth 24 in. $700/900

W 1280. An American

Classical Carved Mahogany Work Table, drop-leaf top, bolection-molded drawers, tapered pillar, plinth base, scroll feet, casters, height 30 in., width 19 in., depth 20 in. $400/600 1281. An American Vernacular Cherrywood Pie Safe, 19th c., possibly Texas, frieze drawer over doors fitted with punched tin panels, tall square legs, height 54 1/2 in., width 38 1/2 in., depth 17 in. $600/900 1282. An Antique American “Smoke” Decorated Walnut Blanket Chest, early 19th c., probably Philadelphia, molded strap hinge lid, open interior, dovetailed case, ogee bracket feet, height 25 1/2 in., width 51 in., depth 23 1/2 in.

1281

1284

$400/600 1283. An American Classical Mahogany Child’s Rocker, early-to-mid 19th c., scrolled back and arms, serpentine seat rail, shaped legs, rockers, upholstered in later, but appropriate, horsehair fabric.

1282

$400/600 1285 1284. An American Late Federal Carved Mahogany Corner Washstand, early 19th c., shaped backsplash with shelf, fitted for bowl and glasses, medial shelf fitted with a drawer, on turned tapered legs connected by stretcher centered by a small oval shelf, height 42 in., width 22 in., depth 14 1/2 in.

1285. An American Classical Cherrywood Work Table, 19th c., oval lift top with fitted interior, spiral turned standard, acanthus carved hipped saber legs, lion’s paw feet, height 27 1/2 in., width 23 in., depth 16 in. $800/1200

$400/600

1283 W denotes the lot is illustrated at www.nealauction.com

261

1286. A Georgian Mahogany Bed Step, 19th c., three inset treads, top step with compartment above a concealed drawer, turned legs, height 26 1/2 in., width 18 1/2 in., depth 27 in.

1286

1287

$800/1200 1287. British School, 19th c., “A Portrait of Mrs. William Brandt”, oil on canvas, unsigned, titled on hand written label en verso, 30 in. x 25 in., antique gilt frame. $1200/1800 Provenance: Descended in a Mississippi Family, found in a New Orleans Garden District home.

1289

1288. William Neuser (Germany/Louisiana, 1833-1902), “Portraits of Felicien and Annie Yokum”, 1896, pair of oils on board, the former signed and dated lower left, 34 in. x 28 in., matching original carved gilt frames. (2 pcs.) $1500/2500

1289. James Jackson (American/Baltimore, 19th c.), “Bishop Francis Asbury (1745-1816) of the American Methodist Church”, early 19th c., oil on canvas (painted as oval), signed “Painted by/Jas. Jackson” lower right, handwritten paper label “Bishop Asbury/Exh. Balt. Museum of Art/Collection E.W. Newton” en verso, 23 3/4 in. x 19 in., framed. $700/1000

1288

Note: Francis Asbury was born in England and immigrated to the Americas, where he traveled thousands of miles on horseback spreading the Methodist faith. In 1784, Asbury was elected one of the first two bishops of the Methodist Episcopal Church and continued to preach throughout his life, often enduring grueling travel conditions and health concerns. The portrait presented here by James Jackson illustrates Bishop Asbury’s perseverance and piety.

Reference: Wigger, John. American Saint: Francis Asbury and the Methodists Oxford University Press, 2012.

262

1290 1291

1293 1292

1290. John McAuliffe (Irish/American, 1830-1900), “Nellie Walton”, oil on canvas, signed lower left, titled mid-right, 18 in. x 24 in., period gilt frame. $3000/5000 Note: Bred by J.M. Littlefield and foaled June 1867, in Abbot, ME., Nellie Walton won twelve races during her career.

1293. Stanley Woodward (American, 1890-1970), “Stormy Sea: Fishing Skiff in Heavy Seas”, watercolor, signed lower right, typed label with artist’s name, title and biography en verso, sight 14 in. x 20 3/4 in., framed. $250/350 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. W 1294. Paul Devillers (French, 19th/20th c.), “Sheep and

1291. Karl A. Buehr (German/American, 1866-1952), “Autumn Landscape”, 1923, oil on linen, signed and dated lower right, artist supply stencil en verso, 25 in. x 30 1/4 in., original gilt frame.

Hens in a Barn”, oil on canvas laid down on masonite, signed lower left, framer’s label, 18 1/2 in. x 25 1/2 in., framed. $500/700 Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL.

$2000/3000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

W 1295. Dutch School, 19th c., “Chess Players”, oil on copper,

unsigned 8 in. x 6 7/8 in., unframed.

1292. George James Aldrich (American, 1872-1941), “Mountain Landscape”, oil on canvas, signed lower right, artist’s name and title identified on label en verso, 25 1/4 in. x 30 1/4 in., framed.

$300/500

$1500/2500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. W denotes the lot is illustrated at www.nealauction.com

263

1296

1298

1301

1299. A Louis XVIStyle Carved and Gilt Mirror, late 19th c., crest centered by cartouche with entwined monogram “HM”, flanked by female terms, beveled mirror plate, shield-shape with acanthine and beaded border, height 55 in., width 38 in., depth 7 1/2 in. $800/1200 Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL. 1300. An EmpireStyle Trumeau Mirror, green ground, the reserve with beaded border and swan relief, foliate mirror surround, height 71 in., width 31 1/2 in.

1299

1296. Continental School, early 20th c., “A Camel and Two Bedouins”, oil on panel, illegibly signed lower right, 8 3/4 in. x 11 3/4 in., Victorian frame. $700/900

$700/1000 Provenance: Balzac Antiques, New Orleans, 2002.

W 1297. British School, 19th c., “Portrait of a Young

Woman in a Cap and Ruff Collar”, oil on canvas, unsigned, 23 3/4 in. x 19 7/8 in., framed. $400/600 Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL. 1298. A Continental Patinated Bronze Figural Lamp, c. 1900, modeled as a Classical maiden, on black marble base, figure height 14 in. $200/400

264

1301. A Diminutive American or English Chippendale Carved Mahogany Looking Glass, 18th c., scalloped crest with scrolled ears, molded frame, length 26 1/4 in., width 15 1/2 in.

1300

$400/600

1302. A Neoclassical-Style Specimen Marble Table, molded black marble top with scrolling floral inlay on columnar base with molded plinth, height 31 1/4 in., diameter 36 in. $1000/1500 W 1303. A Patinated Bronze

Head of a Woman, 20th c., inscribed “Wylie” on back of neck, height 11 1/2 in. $300/500 1304. A Large French Bronze Figural Group of Two Bacchantes with the Infant Bacchus, 20th c., on shaped bronze base, marked, height 31 1/2 in.

1302

$800/1200 W 1305. Eleftherios Karkadoulias

(Greek/American, b. 1936), “Leaping Dolphins”, 1969, bronze fountain, dated and inscribed “E. Karkadoulias/ Greece” on base, height 16 in.

1304

$400/600 Note: Eleftherios Karkadoulias is a master caster, sculptor and bronze restorer. Before coming to America in late ‘60s, Karkadoulias created and exhibited bronze works in Greece, and cast American and European bronzes at his foundry in Markopolo, just outside of Athens. Since 1968, he has been restoring bronze statues across the midwest, most notably the Gettysburg, PA monuments at Devil’s Den, the Tyler Davidson Fountain and Lyte Park statue of Lincoln in Cincinnati. Several articles have appeared in Cincinnati periodicals about his work and foundries in Ohio. The fountain offered here is an homage to both the bottlenose dolphins of Karkadoulias’ native Greece and the first public fountain he was commissioned to restore in the U.S.

W 1308. A Good Pair of

Victorian Carved Mahogany Tuffets, mid-19th c., floral beaded needlepoint, molded frames, lobed feet, height 3 3/4 in., diameter 10 1/4 in. $150/250 W 1309. A Small Louis XV-Style

Bronze-Mounted Mahogany Side Table, serpentine marble top, shaped frieze, conforming stretcher shelf, restrained cabriole legs, height 24 7/8 in., width 20 in., depth 14 in.

Reference: S.F. “Monumental Tasks,” Cincinnati Magazine (Nov. 1976): 9.

W 1306. An American White Marble

$400/600 1307 1310. A Spanish Carved Walnut Refectory Table, 18th c., plank top, frieze with three drawers, splayed trestle supports, iron stretcher, height 31 1/2 in., width 60 in., depth 33 1/2 in.

Bas Relief Plaque, late 19th c., the oval roundel centering a profile of a Classical maiden over a floral garland, inscribed “C.N.D” at bottom of bust, height 15 1/4 in. $300/500 1307. An American Federal Carved Giltwood Mirror, c.

1790-1800, beaded frame surmounted by a spread-winged eagle on plinth, urns to sides, swagged ball and chains, height 42 in., width 20 1/4 in.

$1000/2000

$1000/2000 1310 W denotes the lot is illustrated at www.nealauction.com

265

1316

1319

W 1314. A Pair of Chinese Export

Canton Famille Rose Porcelain Rouleau Vases, probably 19th c., each decorated with alternating figural and floral reserves, height 9 7/8 in. $200/400 Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL. W 1315. A Chinese Export Blue and

White Porcelain Bowl, 19th c., U-form body raised on a tall tapering foot ring decorated with a waterside fishing scene, height 3 3/8 in., diameter 7 3/4 in. $150/250 Provenance: Joel N. Weinstock Collection, New Orleans.

1322

W 1311. Harry John Johnson (British, 1826-

1884), “The Lake of the Four Cantons: Lucerne”, oil on canvas, unsigned, titled on two type written artist labels en verso, 19 in. x 32 1/8 in., gilt frame.

$800/1200

$400/800 W 1313. A Pair of Chinese Export Canton

Famille Rose Porcelain Vases, 20th c., hexagonal baluster bodies with molded pomegranate handles, decorated with alternating figural and landscape panels, height 22 3/4 in. $300/500

W 1320. A French Empire

Three-Piece Gilt Porcelain Corbeille Garniture, earlyto-mid 19th c., reticulated navette tapering forms on splayed stem feet, height 4 3/4 in. to 7 1/8 in., width 5 7/8 in. to 9 in.

Provenance: Noted Antiquarian David Stockwell, Wilmington, DE. W 1321. A Set of Twelve

Glass Six-Light Chandelier, early 19th c., vasiform standard, twisted arms, with foliate crown and floral pendants, height 27 in., diameter 23 in.

Dresden Polychrome and Gilt Porcelain Dessert Plates in the Rococo Taste, late 19th c., reticulated borders, floral wells, blue marks of Carl Thieme at Potschappel, diameter 8 3/8 in.

$800/1200

$300/500

W 1318. A French Wrought Iron and

1322. A Pair of French Gilt Bronze-Mounted Famille Noire-Style Porcelain Covered Jars, baluster bodies and domed covers decorated with birds on flowering prunus branches, bases marked, bronze feet and finials, height 20 1/2 in.

W 1317. A Venetian Polychrome

Langley, Bucks, England”, oil on canvas, signed lower left, signed and titled en verso, 12 in. x 22 in., period frame.

$800/1200

$400/600 1316. A Large Pair of Gilt Brass Wall Lights, 20th c., finialed domes, tapered hour-glass form, fluted glass shades, height 27 1/4 in., width 14 1/4 in.

$600/900 W 1312. C. F. Bailey (English, 19th c.), “Cornfield,

1319. A Czech Gilt and Polychrome Porcelain Fish Service, comprised of a fish platter, sauceboat with integral underplate, ladle, 11 plates and 11 bone dishes, platter length 21 3/8 in., plate diameter 8 5/8 in. (25 pcs.)

Tôle Eight-Light Chandelier, c. 1920, scrolled body, floriform bobêches, bud pendant, verdigris with gilt accents, electrified, height 29 in., width 35 in., depth 14 in. $500/700

$600/800

266

1323. A Group of Twelve French Gilt and Polychrome Oyster Plates, early 20th c., each with six wells for oysters and one for condiments, decorated in pastel shades, two of each color, diameter 8 in.

1323

$500/700 1324. A Set of Twelve Spode Polychrome and Gilt Porcelain “Japan” Pattern Dinner Plates, 19th c., decorated in the Imari palette with flowers, scalloped rims, marked, diameter 10 1/4 in.

1324

$500/800

1329. An American Renaissance Gilt Brass Four-Light Newel Post Fixture, late 19th c., tapered vasiform body mounted with cupid masks and anthemia, bracketed light sockets, circular base, height 45 in., diameter 13 in.

W 1325. A Set of Twelve Derby

Polychrome and Gilt Porcelain “Imari” Pattern Plates, late 18th/ early 19th c., floral design, marked, diameter 8 3/4 in.

$700/1000

$500/800 1326

1327

1326. A Mason’s Ironstone “Imari” Pattern Lidded Tureen and Under Plate, polychrome and gilt floral design, shell work handles and finial, each marked, total height 14 in., length 14 1/2 in. $400/600 1327. A Fine Set of Ten Coalport Porcelain Soup Plates, c. 1900s, retailed Davis Collamore & Co., Ltd., New York, yellow and navy blue border with gilt decoration, diameter 10 1/4 in. (10 pcs.) $150/250 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

W 1328. An Antique

English Copper and Brass Kettle and Brazier on Stand; together with a copper kettle, a copper cauldron, and a brass skimmer, kettle and brazier on stand height 39 in., (4 pcs.). $300/500

1329

1330

Provenance: Estate of Major Philip St. George Ambler IV. 1330. An American Gilt Lacquered Brass and Bronze Solar Lamp, 19th c., font over columnar standard, square plinth, period etched, cut glass shade and chimney, hung with crystal prisms, overall height 22 1/2 in., diameter 7 in. $400/600 W denotes the lot is illustrated at www.nealauction.com

267

1332

1336 W 1334. Sixteen Venetian

Gilt and Green Blown Glass Wine Glasses, ribbed stems, floral decoration; together with six gilt rimmed green wine glasses, tallest height 8 in. (22 pcs.)

1331

$250/350

1331. An American Gilt Lacquered Brass and Bronze Solar Lamp, c.

1840, Cornelius & Co., Philadelphia, labeled, fluted Corinthian column standard, marble plinth, cut and etched glass shade, prism hung, electrified, height 27 1/8 in., diameter 9 in.

W 1335. A Set of Ten

Continental Polychrome Enameled Green Wine Glasses, ribbed stem, floral and vine pattern, gilt rim, height 6 1/4 in. $200/300 1336. A Pair of English Regency-Style Cut Glass Decanters, 19th c., tapered ring neck, diamond fluted pattern, height 9 1/2 in., diameter 4 1/2 in.

$500/700 1332. A Pair of Antique Cut Crystal Covered Pokols, double domed, diamond pattern, square stem feet, height 11 1/2 in., diameter 5 1/2 in. $600/900

$500/750

1337

W 1333. An

English Cut Glass Centerpiece and Decanter, early 19th c.; together with two Georgian silver decanter labels inscribed “Port” and “Madeira”, centerpiece height 10 in., decanter height 12 in.

$500/1000

$250/350 Provenance: Estate of Major Philip St. George Ambler IV.

268

1337. An Antique American Carved and Gilded Rectangular Mirror, late 19th c., floral and acanthus surround, beaded inner border, height 38 in., width 43 in.

1338

1338. An American Classical Carved Giltwood Overmantel Mirror, early 19th c., divided mirror plate, split baluster frame, rosette blocks, height 17 3/8 in., width 40 3/8 in. $250/500

1339

1340

1339. An American Quaker Pine Meetinghouse Bench, 19th c., Pennsylvania, shaped crest rail, medial slat, plank seat, arms and base, height 34 1/4 in., width 117 5/8 in., depth 16 3/8 in. $400/600 1340. An Antique American Painted Pine Dough Box, 19th c., lid lifting to a canted well on shaped legs, height 29 1/4 in., width 40 3/4 in., depth 18 3/4 in. $600/900 1341. An American Classical Carved Mahogany Washstand, early 19th c., shaped backsplash, cylindrical crest, two drawers, two doors, flanked by half-round Ionic columns, turned feet, height 37 1/4 in., width 28 3/8 in., depth 16 in.

1343

1341

$400/600 1342. An American Classical Carved Mahogany Games Table, early 19th c., New York, foldover baize-lined swivel top, satinwood fitted interior, drawer below, paired scrolled supports, turned medial stretcher, scrolled legs, height 29 in., width 28 in., depth 15 7/8 in.

1344

$400/600 1344. Hans Burgkmair (German, 1473-1531), “Group of Mounted Trumpeters from Emperor Maximilian’s Triumphal Procession”, c. 1516-1518, woodcut on paper, 9 1/4 in. x 14 3/4 in., framed.

1343. Pierre-Auguste Renoir (French, 1841-1919), “Femme au Cep de Vigne, III Variante”, 1919, lithograph, signed in plate, published

by Vollard from Douze Lithographes Originales de Pierre-Auguste Renoir, sheet 13 in. x 10 in., framed. $400/600

$300/500 1342

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

269

W 1349. A Pair

of Polychrome Painted Cast Iron Prancing Horse Doors Stops, 19th c., rectangular base, height 9 1/2 in., width 11 in., depth 3 1/8 in. $125/175 Provenance: Estate of Major Philip St. George Ambler IV. 1348

W 1350. Two

Cast Iron Door Stops, late 19th/ early 20th c., each modeled as the standing figure of a “Southern Belle”, height 11 5/8 in. and 10 1/2 in.

1346

$100/200 1351. A Lithophane of a Hunting Dog, 19th c., mounted within a patinated iron foliate tree stand with root base, height 13 in. $200/300 W 1352. A Regency-Style

Cut Glass Hall Lantern, probably mid-to-late 19th c., diamond cut, brass band, smoke bell, height 16 1/2 in., diameter 8 1/4 in. $200/400 W 1353. A Group of Three

1355

1351

Antique American Maps, 1852-1854, published by J.H. Colton, No. 86 Cedar St., New York, comprised of “Chart of National Flags”, “Map of North America”, and “The World”, 19 1/2 in. x 23 in., 21 1/2 in. x 23 1/2 in., 20 1/2 in. x 26 in., respectively, framed.

W 1345. John E. Costian, N.A.

W 1347. An American Gilt Brass

(American, 1888-1972), “Autumn”, etching, pencil-signed and titled, 8 7/8 in. x 13 5/8 in., framed; “Mother and Child”, etching, pencil-signed and titled, 7 7/8 in. x 9 7/8 in., framed; and “Figures with a Cow”, etching, pencil-signed and titled, 8 3/4 in. x 13 3/4 in., framed, (3 pcs.)

Three-Piece Girandole Garniture, mid-19th c., comprised of a five-light centerpiece flanked by three-light candelabra, foliate scroll arms ending in molded candlecups with foliate prism rings, molded base on bracket feet, centerpiece height 20 1/4 in., width 18 3/4 in. Note: Lacks prisms.

$300/500

$300/500

$400/600

1348. A Pair of American Classical Brass Andirons, early 19th c., New York, each with baluster form standard, scrolled legs, ball feet, logs stops with finials, iron billet bars.

1355. An American Cast Bronze Plantation Bell, mid-19th c., “Meneely’s Foundry, West Troy, New York, 1850”, complete with clapper and cast iron yoke supports, base diameter 17 in.

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 1346. An Antique American Églomisé Gameboard, c. 1895, presented in a carved oak frame, sight 16 3/4 in. x 16 3/4 in. $500/750

270

$300/500

$800/1200 W 1354. An Antique American Brass and Iron

Scale, marked “Jones / Binghamton NY”, the scale indicating 0-500 pounds, height 8 in., length 40 in., depth 2 1/2 in.

$1500/2500

1356

1357

W 1360. A Pair of

Continental Cast Iron Urns, with doublemask handles, cast with swags, height 23 in., diameter 16 1/2 in. $300/500 W 1361. A Cast Iron

Garden Fountain of a Leaping Frog, height 26 in., width 18 1/2 in., depth 10 in. $300/500 1358 1362. An American Cast Iron Garden Bench, mid-19th c., marked Hinderer’s Ironworks, New Orleans, “Passion Flower” pattern.

1356. An Antique American Cast Iron Fern Pattern Garden Settee, mid-19th c., leaf and frond back, scroll arms, pierced seat, splayed legs, height 34 3/4 in., width 57 1/4 in., depth 24 in. $1200/1800 1357. A Set of Four American Rococo Cast Iron Garden Chairs, mid-19th c., scrolled pierced backs, circular seats, cabriole legs.

1359

$1500/2500 W 1363. A Pair of

$400/600

Cast Iron Garden Urns, flared rim, square self base, found in gray paint, height 24 in., diameter 23 1/2 in.

Provenance: Chestnut Hill, PA. 1358. A Continental Wrought Iron and Marble Table, white marble top, on scrolled legs with brass mounts, height 31 1/2 in., diameter 60 in.

$600/900

$600/900

W 1364. An Italian

Neo-Classical Style Cast Stone Statue, 20th c., loosely modeled after Classical representations of Athena, height 55 1/2 in.

1359. A Contemporary Painted Metal Weather Vane, 20th c., in the form of a flamingo, rectangular base, height 50 1/2 in., width 23 1/4 in. $800/1200

$700/1000

1362 W denotes the lot is illustrated at www.nealauction.com

271

1369

1368. An American Polychrome Painted Plaster Bust of General Winfield Scott (17861866), late 19th/early 20th c., after the original by William John Coffee (American, 17741846), inscribed on “WmJ Coffee/ Sculpture/ N.y.” on rear truncation, height 29. $400/600

1366

1368

W 1365. An Italian Neo-Classical Style Cast

W 1367. [Louisiana Books], six titles including:

Stone Statue of Mars, 20th c., after the Antique, height 57 1/2 in., base 16 x 17 in.

Armstrong, Louis, My Life in New Orleans, London: Peter Davies, William Clowes and Sons Limited, 1955; Cable, George W., Old Creole Days, New York, Charles Scribner’s Sons, 1945, eighth edition; Keyes, Frances Parkinson, The River Road, New York, Grosset & Dunlap, 1945; Keyes, Frances Parkinson, Madame Castel’s Lodger, New York, Farrar, Straus and Company, 1962; A Publication of The Louisiana State Museum, New Orleans, Glamorous Louisiana Under Ten Flags, Thos. J. Moran’s Sons, 1937; Cruise, Boyd and Harton, Merle, Signor Faranta’s Iron Theatre, The Historic New Orleans Collection, 1982, first edition, with dust cover.

$700/1000 1366. An American Carved Walnut Regulator Clock, 19th c., silvered dial, pendulum fitted with solid glass cylinders, on tall plinth base, height 88 3/4 in., width 29 in., depth 11 1/4 in. $800/1200

$100/150

272

Note: Winfield Scott was a general and national war hero. He fought in the War of 1812, the Black Hawk War, the Mexican-American War, the Second Seminole War, and the American Civil War. Scott served as the Commanding General of the United States Army longer than any other general, and ran against Franklin Pierce in the 1852 presidential election. In 1870, Scott’s outstanding service to his country was commemorated on the 24 cent postage stamp, which was engraved after the bust by William Coffee offered here.

Reference: American Historical Record 2:13 (1873): p. 427.

1369. A Large American Patinated Bronze Group, 20th c., after Charles Marion Russell (American, 1864-1926) cast as a stagecoach pulled by six horses, indistinct cast signature, bronze height 20 1/2 in., length 61 in., presented on stand. $2500/3500

1372

1375. A Waters Model 1836 Flintlock Pistol, lock plate marked “A. Waters/ Milbury, MS/1837”, barrel marked “US/JH/P”, walnut grip with inspector mark, swing ram rod, barrel length 8 1/2 in.

1371

W 1376. A Group of

1370

1370. A Polychromed Plaster Bust of George Washington, 20th c., after the original by Jean-Antoine Houdon (French, 1741-1828), inscribed “Houdon f. 1788 [sic]” on side truncation, height 20 3/4 in. $800/1200 1371. A Remington 44 Caliber New Model Army Revolver, octagonal barrel marked “Patented Sept. 14, 1858/E. Remington & Sons, Ilion, New York, U.S.A/ New Model”, walnut grip with military inspection mark, barrel length 8 in.

1373

W 1377. Xavier

1372. An American Eagle-Head Military Sword, c. 1835, fullered blade with gilt highlighted floral decoration, carved bone grip, eagle-head pommel, 29 inch blade, brass and leather scabbard.

1374

Gonzalez (American, 1898-1993), “Along the Shore”, 1963, watercolor, signed, dated and inscribed “To Herbert & Evelyn” lower right, 17 1/2 in. x 13 1/2 in., matted and framed. $500/700

1373. A British Light Dragoon Flintlock Pistol, iron lock plate marked “R/Johnston”, barrel marked “London” and with British proofs, brass furniture, swing ram rod, barrel length 9 in.

W 1378. American

School, late 19th/ early 20th c., “A Grand Country Home with a Promenading Couple, Groomsman and Livestock”, oil on canvas, unsigned, 16 in. x 24 in., antique gilt frame.

$1000/1500 1374. A Ketland Brass Barrel Flintlock Pistol, 19th c., lock plate marked “W/Ketland/& Co”, barrel marked “E/LG” and with two proofs, brass furniture, iron lock plate, barrel length 7 1/2 in.

Four Antique Pistols, in a shadow box frame, including an Iver Johnson, Safety, 38 cal.; A Smith & Wesson, first issue, c. 1858; a Harrinton & Richardson, c, 1898; and a Belgian “Peacemaker”, c. 1855, frame height 18 in., width 36 in., depth 3 1/4 in. $800/1200

$2500/3500

$1200/1800

$1200/1800

$400/800 1375

$1200/1800 W denotes the lot is illustrated at www.nealauction.com

273

W 1383. Philip

1379

1381

1380. Harold Arthur Streator (American, 1861-1926), “View by the Shore”, oil on canvas, signed lower right, 24 in. x 29 in., framed. $500/800 1381. Edward Borein (American, 1872-1945), “Cowboy Vignettes”, four ink on paper works, 3 1/4 in. x 2 3/4 in., 3 1/2 in. x 3 in., 4 1/2 in. x 3 3/8 in., and 3 1/4 in. x 2 3/4 in., respectively, framed together.

1380

$1000/1500 Provenance: Christie’s, Los Angeles, Western Property from the Katherine H. Haley Trust, October 2000, lot 201.

Exhibited: Oklahoma City, OK, National Cowboy Hall of Fame and Western Heritage Center, The West of Edward Borein March-May 1979, no. 26, illustrated; Palm Springs, CA, Palm Springs Desert Museum, Edward Borein: Artist of the West from the Katherine H. Haley Collection, February-April 1991.

1382. Brett James Smith (American, b. 1958), “Last Light”, 1985, oil on canvas, signed and dated lower left, titled on frame plaque, 22 1/2 in. x 28 1/2 in., framed. $1800/2500

Sage (American/ Louisiana, b.

1942), “Spinnaker Run”, 1974, etching, pencilsigned, dated, titled and inscribed “4/150” lower margin, 14 3/4 in. x 17 1/2 in.; “Heading Out”, 1981, handcolored etching, pencil-signed, dated, titled and inscribed “Artist Proof” lower margin, 8 1/2 in. x 11 1/2 in.; “Entrance to Audubon Park”, 1980, etching, pencil-signed, dated, titled and inscribed “18/200” lower margin, 11 3/4 in. x 15 1/2 in.; “Steamboat Delta Queen”, 1979, etching, pencil-signed, dated, titled, and inscribed “100/200” lower margin, 17 1/2 in. x 23 1/2 in., each framed. $400/600 W 1384. Philip Sage

(American/Louisiana, b. 1942), four etchings including “Lafitte’s Blacksmith Shop”, 1977, “Beauregard House”, 1979, “Lettuce Man”, 1975, and “Seated Nude”, 1979, all pencilsigned lower right and titled lower center, inscribed “148/200”, “152/200”, “Artist Proof” and “31/200”, respectively, from 4 1/2 in. x 5 3/4 in. to 5 3/4 in. x 8 in., each framed. $300/500

1382

1379. Harry Herman Roseland (American, 1866-1950), “The Fortune Teller”, 1935, oil on canvas, signed and dated lower left, 15 7/8 in. x 20 in., giltwood frame. $1200/1800

274

1385. An American 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.

1392

W 1389. [Leather Bindings], Anatole France (French,

$800/1200

1844-1924), The Novels and Short Stories of Anatole France, New York, the Versailles Edition, in 19 volumes, pictorial red morocco cover, interior with an Art Nouveau floral design on a moss green levant doublure onlays, moiré end sheets.

W 1386. A

Regency Inlaid Mahogany Sofa Table, early 19th c., drop-leaf top, frieze drawers, tapered support, incurvate plinth, arched reeded legs, brass paw feet and casters, height 27 1/2 in., open width 61 1/4 in., depth 31 1/8 in. Note: Legs reinforced with iron box and cross stretcher.

$200/300 W 1390. [Leather Bindings], Encyclopedia Britannica,

The Historians’ History of the World, 27 vols, 1926; together with John Lord, Beacon Lights of History, 10 vols., 1883 (37 pcs.) $400/600 W 1391. A Napoleon III Gilt and Patinated

Bronze Figure of the Infant Bacchus, c. 1865, probably a candelabra base, the figure holding a cornucopia, his right foot standing on a torch, rocaille base, height 11 1/2 in; together with a small onyx bust of a woman, c. 1900, inscribed “LAURA” on base, height 5 1/2 in., height 5 1/2 in., width 5 3/4 in.

1385

$200/300

$200/300 W 1387. An Antique Majolica

Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL

Jardinière on Stand, late 19th/ early 20th c., with hand painted scenes of a couple courting, rocaille decoration, scrolling foliate handles, overall height 55 in. Note: Flaking to painted scenes.

1392. A French Gilt Bronze Figure of a Harvester as Ceres, late 19th c., mounted on a marble base, overall height 14 in.

$300/500

$500/700

W 1388. [Decorative Leather

1393. Pietro Barzanti (Italian, 1842-1881), “Bust of a Young Girl in a Fringe Cape”, inscribed “P. Barzanti, Florence” on rear truncation, height 17 3/4 in.

Bindings], 34 books including Anglo-Saxon Classics: Norroena Embracing the History and Romance of Northern Europe, limited edition, 15 volumes, full leather, tooled and gilt; Oriental Series: China and Japan, Artists Edition #431 of 500, 12 vols., 1901; together with R.L. Stevenson, Stephenson’s Works, published by Scribner’s, in 7 volumes, 1/2 red leather with marbled boards.

$400/600 W 1394. An Antique American Carved Oak

1393

Frame, late 19th/early 20th c., chain-link inner border, stepped molded outer frame with foliate scrolls, height 33 in., width 37 3/4 in. $150/300

$300/600 W denotes the lot is illustrated at www.nealauction.com

275

W 1397. Georgia

Timken Fry (American, 18641921), “The Cottage”, 1888, oil on canvas, signed and dated lower right, 17 in. x 21 in., framed. $400/600 W 1398. Walter

Franklin Lansil (American, 18461925), “Low Tide”, oil on canvas board, signed lower left, signed and titled en verso, 8 in. x 10 in., framed.

1395

$300/500

1399

1399. Jerry Farnsworth (American, 1895-1982), “Remembrance of Things Past”, oil on canvas, signed upper left, titled inscribed in pen on stretcher, “Frank J. Oehlschlaeger Gallery” label en verso, 24 in. x 16 in., framed. $700/1000

1396

W 1400. Thomas

1395. Paul Turner Sargent (American, 1880-1946), “The Gray Cloud” and “The Hilly Landscape”, two oils on boards, both signed lower right, 12 in. x 16 in., framed alike.

1401

$600/800

Maley (American, 1911-2000), “Cool Cat”, oil on masonite, signed lower right, 20 in. x 37 3/4 in., framed. $700/900

1396. American School, 20th c., “North African Market Scene”, oil on canvas, unsigned, 13 in. x 17 in., framed.

1401. Eleanor Hancock Pryor (American/Kentucky, 1872-1952), “A Rockabilly Guitarist”, oil on canvas, signed en verso, 34 in. x 30 in., unframed. $800/1200 Note: The musician depicted here bears a resemblance to the Kentucky rockabilly guitarist Bill Beach (b. 1932).

$1000/1500

1402. George B. Luttrell II (American/Louisiana, 1936-2000), “Pirates Alley, New Orleans”, 1967, oil on canvas board, signed and dated lower right, signed, titled and inscribed en verso, 20 in. x 8 in., framed. $700/900

1402

276

1403. Franz Weiss (American/ Louisiana, 1903-1982), “Royal Street Vieux Carré, New Orleans”, 1965, oil on canvas, signed and dated lower right, titled lower left, 24 in. x 18 in., framed. $700/900 1404. Peter Joseph Lawrence Mars (American/New Orleans, 1874-1949), “Bayou Sauvage in the Fall on the Old Spanish Trails”, oil on artist board, signed “P. Mars/ NOLA” lower right, titled en verso, 17 7/8 in. x 12 1/8 in., framed. $800/1200 1405. Colette Pope Heldner (American/New Orleans, 1902-1990), “Swamp Idyl”, oil on canvas, signed lower left, signed and titled en verso, 30 in. x 24 in., framed.

1405 1403

$800/1200 1406. Colette Pope Heldner (American/New Orleans, 1902-1990), “Swamp Idyl (Louisiana Bayou Country)”, oil on canvas, signed lower left, signed and titled en verso, 20 in. x 36 in., framed. $800/1200 Provenance: Acquired from a Private Collector in Port Neches, TX. 1407. Joseph Dickenson (American/ Virginia, 20th c.), “Young Boy with his Turtle”, 1964, oil on canvas, signed and dated lower right, 30 in. x 20 in., framed. $800/1200 W 1408. James Carl Hancock

(American, 1890-1966), “Pirate’s Alley, New Orleans, LA”, etching, signed in plate, pencil-signed lower right, pencil-titled lower left, 7 1/4 in. x 5 1/2 in., framed.

1407 1404

$100/150

W 1410. [Louisiana State Lottery

Company], an advertisement handbill for the Louisiana State Lottery, 1879, together with a lottery ticket, framed together in a double-sided frame, sight 12 in x 6 1/4 in. and 2 1/2 in. x 4 1/2 in., respectively.

W 1409. Jack

Raymond Miller (American/New Orleans, 19422014), “Bourbon and Dumaine”, 1985, handcolored etching, pencil-signed, dated, titled and inscribed “79/250” lower margin, 7 in. x 7 3/4 in., unframed.

$200/300 W 1411. 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. $250/500 1406

$250/500

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

277

W 1412. Victor Coleman Anderson (American/

Texas, 1882-1937), “The Last Veteran”, oil on canvas, signed lower left, titled and inscribed “M.P. Howe Gallery” en verso, 18 in. x 14 in., period frame. $500/800 Provenance: Private Collection, Memphis, TN. Note: Well known painter and illustrator] Victor C. Anderson studied at the Pratt Institute with landscape artist Birge Harrison in Woodstock, New York. His father Frank Anderson was a Hudson River painter, who passed away when his son was only eight years old. Anderson spent the early 1930s living and working in Texas. As an illustrator, he worked for the print publications: Life, Woman’s Home Companion, Collier’s and The Ladies Home Journal.

1413

1413. Will Ousley (American/Louisiana, 18661953), “The Old Ferry Road on the Old Spanish Trail near Lake Charles on Calcasieu River”, oil on canvas, signed lower right, signed, titled and inscribed en verso, 15 1/2 in. x 36 in., period frame. $800/1000 Provenance: Private Collection, Coldspring, TX. 1414. Will Ousley (American/Louisiana, 18661953), “Two Cypress Trees at Twilight”, oil on canvas, signed lower right, 23 1/2 in. x 13 3/4 in., period frame. $700/900 Provenance: Private Collection, Coldspring, TX. 1415. An American Polychromed Cast Iron Bellman Card Tray, c. 1920s, in original paint, on molded base, height 37 1/2 in., width 7 in., depth 14 in. $700/1000 W 1416. An American or English Brass Coal Hod,

c. 1830; together with a set of American Federal brass and iron fireplace tools, c. 1810, comprising stand, tongs and shovel; stand with reticulated gallery base, tools with banded orb finials, overall height 31 in., width 8 1/2 in., depth 6 1/2 in.

1415 1414

$200/300 1417. Jennifer Lynn Smith (American, 20th c.), “Sound Corridor”, oil on canvas, signed lower right, signed, titled and dated en verso, 36 in. x 24 in., framed. $600/800 1418. A Pair of Art Deco-Style Brass Candlesticks, tulip form, circular base with silver inlaid geometric pattern, height 14 1/2 in., depth 6 in. $300/500

1418 1417

278

1419. A Pair of Louis XVI-Style Gilt Bronze Chenets, 19th c., each urn with garland swags, shaped bases, toupie feet, height 20 1/2 in., width 13 in., depth 5 1/2 in. $700/1000 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. W 1420. A Pair of

Louis XVI-Style Gilt Bronze Two-Light Wall Sconces, torch and urn form standard, issuing foliate arms, height 19 in., width 11 in., depth 6 in.

1419

$400/600 1424

W 1421. A Louis XV-Style Gilt Metal

and Crystal Five-Light Chandelier, 20th c., vasiform standard, gadrooned bobêches, crystal chains, height 20 in., diameter 21 in.

W 1430. A Continental Gilt Bronze-

Mounted Cut Crystal Dresser Box, foliate bands, on paw feet, height 5 1/8 in., width 10 3/4 in., depth 5 1/4 in.

$300/500

$150/250 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

W 1422. A Pair of Bronze-Mounted

Blue Sèvres Porcelain Table Lamps, mid-20th c., circular base, ribbon finial, total height 34 in.

W 1431. An American Brilliant Cut Glass

and Silverplate Mounted Vase, late 19th c., with diaper and star pattern, height 17 1/4 in., diameter 7 1/2 in.

$200/300

$200/400

W 1423. A French Gilt Bronze Eight-

Light Chandelier, 20th c., urn form standards, scrollwork with lion heads and masques, fluted arms, electrified, height 30 in., width 25 in. $500/700 1424. An American Classical Giltwood Mirror, c. 1840, foliate and rope-turned border, height 24 in., width 37 1/2 in. $300/500 W 1425. A Louisiana Oak Splint

Button Basket, 19th c., hand-woven basketweave with openwork carrying handles, height 9 1/2 in., diameter 20 in. $150/250 W 1426. An American Brass Bed

Warmer, 18th c., engraved decoration, turned wood handle, length 46 in., diameter 11 in. $200/400 Provenance: C.J. Larson, 1984.

1434

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

W 1427. A Pair of French Brass

W 1432. A Pair of Continental Bronze-

Candlesticks, 19th c., each tapering columnar reeded shaft on foliate base, height 10 1/4 in., diameter 4 1/2 in.

Mounted Cut Crystal Lidded Jars, hinged lids, pineapple finials; together with a small pair of vases, a diminutive tazza, and a circular ashtray, jar height 7 1/2 in., diameter 5 1/4 in., (6 pcs.)

$100/200

$200/400 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

W 1428. A Pair of Antique

French Bronze Chenets, ball finials, balustrade flanked by fluted legs, height 8 3/4 in., width 9 3/4 in., depth 18 1/2 in. $300/500

W 1433. A Continental Gilt Bronze-

Mounted Cut Crystal Wine Cooler, engineturned rim, lion mask handles, diamond point pattern, height 9 1/8 in.; together with two bronze-mounted cut crystal wine coasters, (3 pcs.) $200/400

W 1429. A French Gilt Brass and

Cut Crystal Globe-Form Cave à Liqueur, comprising three cut crystal and gilt bronze decanters, four cut crystal glasses and two etched crystal glasses, height 15 1/2 in., diameter 14 in. $150/250 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. 1434. Sidney Hutter (American, b. 1954), “Vase #13”, c. 1988, from the Plate Glass Vase series, engraved signature and with edition number “2/80”, green, cut, ground and polished glass, height 12 in., diameter 6 in. $300/500 Provenance: The Headley-Whitney Museum, Lexington, KY (Acc.No. 80.2.4).

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

279

1438

1439

1438. Two Bronze Panels in the Style of the Commemorative Plaques of Benin, each rectangular panel modeled in high relief with figures of Nigerian warriors, height 14 in., width 10 3/4 in., depth 3 1/2 in. and height 15 1/4 in., width 11 in., depth 4 in., mounted on wood hanging plaques, overall height 16 in., width 12 in., depth 3 1/2 in. and 4 1/2 in., respectively. $400/600 1439. Two Bronze Panels in the Style of Commemorative Plaques of Benin, each rectangular panel modeled in high relief with two standing Nigerian warriors flanking another seated on a donkey, height 9 in., width 7 1/4 in., depth 3 in., mounted on wood hanging plaques, overall height 10 in., width 7 1/2 in., depth 4 in. $400/600 W 1440. A French Gilt and Polychrome Painted Porcelain

1442

Bowl, marked “Tiffany and Co/ Private Stock/ Hand-Painted/ in France”, with foliate and crest design, height 4 1/4 in., diameter 10 in. $300/500 W 1441. A “Meissen” Porcelain Figural Corbeille, late

19th/early 20th c., cross-swords mark, reticulated, with polychrome floral sprays; together with a “Meissen” figural group of girl and boy playing the mandolin, cross-swords mark, incised “G92”, corbeille height 4 1/2 in., width 10 in., depth 6 1/2 in. $400/600 Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL. 1443

W 1435. A Large Orrefors

W 1437. A Pair of

Crystal Bowl, Jan Johansson, signed and inscribed “Orrefors Expo 950-77”, spiral faceted design, height 6 in., diameter 12 1/8 in.

Lalique Glass Bowls, 20th c., molded and frosted edges, scrollwork and bead motif, height 2 in.

$150/250

$200/300 W 1436. A Steuben Glass Bowl,

late 20th c., swirl pattern radiating from base, height 3 1/2 in., diameter 7 in. $200/300

280

1442. A Pair of Antique German Porcelain Two-Light Candelabra, c. 1908, Ackermann & Fritze, mark of crown over “F”, mocha and cream ground, encrusted with flowers, on cherub feet, height 16 in., width 11 in., depth 6 1/2 in. $600/900 Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL. 1443. A Pair of Paris Porcelain Sèvres-Style Jardinieres on Stands, modeled as faux bamboo, the reserves with céleste bleu ground, painted with portraits and garlands, height 7 in., width 7 1/2 in., depth 7 1/2 in. $600/900 Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL.

W 1444. A Limoges Gilt and

W 1453. A Necklace of 8 mm.

Polychrome Fish Set, late 19th c., marked, including serving platter, sauceboat, underplate and 12 plates, length of serving platter 24 in., plates diameter 9 1/2 in. Note: Minor hairline in serving platter.

Multicolored Jade Beads with 14 kt. Yellow Gold Filigree Clasp; together with a yellow gold and onyx choker of flat discs with 14 kt. yellow gold filigree clasp. $200/300

$300/500 Provenance: “Villa Rose” Collection of Grace Collins Lindblom, Orlando, FL.

W 1454. A Mignon Faget Gilt

W 1445. A Paris Porcelain Open

$100/150

Entree Dish, 19th c., oval with cornflower sprigs, height 12 1/2 in., width 9 1/4 in.

W 1455. A Group of Costume

Metal Banana Leaf Pin and Earrings .

Jewelry, including a Majorca simulated black pearl necklace and earring set with vermeil mounts, a “pearl” ribbon brooch, a pair of “diamond” and “sapphire” earrings, a pair of shell earrings, a pair of ruby and diamond clips, lacking many rubies and diamonds, and some tiger’s eye beads.

$150/250 1448 (2 of 4) W 1446. A Gilt Metal and Cut

Crystal Caviar Serving Bowl, fish form handles, the bowl fitted over an ice receptacle, height 3 1/2 in., diameter 8 in.; together with a pair of silverplate wine coasters, (3 pcs.)

$100/200

$100/150

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

W 1456. A Group of Six Leather,

Alligator and Cloth Handbags, including two vintage Judith Leiber examples, largest height 8 1/2 in., width 12 in. (6 pcs.)

W 1447. A Monumental American

Brilliant Cut Glass Trumpet Vase, height 46 1/2 in., diameter 12 in. $100/200

$300/500

Provenance: Property Sold for the Benefit of a Private Institution.

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

1448. Charles Fritchie (American/New Orleans, b. 1936), two pairs of figural bronze bookends, 2000-2002, one pair consisting of nude female torsos, the other nude male and female torsos, each dated and inscribed “Fritchie”, height 9 1/4 in. and 9 3/4 in. respectively.

W 1457. A Group of Four Vintage

Evening Bags, including two black Judith Leiber, and two gilt evening bags, one marked “Koret”, largest bag height 5 in., width 7 1/2 in.

1450

$400/600

$400/600 W 1451. A Vintage Gucci Brown W 1449. Charles Fritchie (American/

New Orleans, b. 1936), “The Thinker”, 1993, bronze, artist’s name and date inscribed on base, height 25 in.

Alligator Shoulder Bag, height 7 1/2 in., width 9 in.

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL. W 1458. Three Vintage Evening Bags,

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

including one white leather and rhinestone Judith Leiber example, and two beaded bags, Leiber height 5 1/2 in., width 8 1/2 in.

1450. A Continental Patinated Bronze Figure of a Classical Warrior, probably 19th c., with spear and shield, inscribed “S. Bauer” on self-base, raised on an onyx base, overall height 11 in.

W 1452. A Yellow Gold, Mabé Pearl

Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

$600/800

$600/800

$500/700

$500/700

and Diamond Crab Pin, unmarked, probably 14 kt., diamond approx. .45 ct.; together with a 14 kt. yellow gold, Australian opal and garnet tie tack.

$300/500

W 1459. A Group of Six Leather,

Alligator and Snakeskin Handbags, including a Judith Leiber example, largest height 9 1/2 in., width 13 in. $300/500 Provenance: Estate of Aloyis Lee Sonneborn, Mobile, AL.

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

281

W 1460. A Carry-on Case and Travel Purse of June Allyson,

W 1463. A Sable Mink Jacket, size 4-6, lined in brown silk,

name stitched in gold on brown leather.

stitched “Bradley’s”, approx. back length 27 in.

$300/500

$200/400

Provenance: Julien’s Auctions, Beverly Hills, CA. W 1464. Two 10 kt. Yellow Gold Child’s Rings, each set with a W 1461. A Sable Mink Coat, notched lapels, two on-seam

small diamond.

pockets, lined in brown silk, labeled “Dempster’s”, back length approx. 41 in., approx. size 4-6.

$200/300

$500/700

W 1465. A Vintage LSU Buckle, patent date 9-8-27.

$100/200 W 1462. A Dark Brown Mink Coat, size 4-6, with notched collar,

two pockets, lined in brown silk, back length approx. 45 in. $400/600

UPCOMING AUCTION Winter Estates Auction January 31 & February 1

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T H I S C OAT H E L P E D W I N T H E WA R O F 1812 .

N OW I T I S L O S I N G T H E BAT T L E AGAINST TIME .

Help the Louisiana State Museum restore this magnificent wool uniform coat originally worn by Lt. Col. William Sutherland Hamilton in the War of 1812. Although the 1810-style garment was worn by several U.S. infantry regiments’ officers, the Hamilton coat is the only known surviving example in any collection, public or private. The nonprofit Louisiana Museum Foundation is raising funds to return the coat to its former glory for display in From ‘Dirty Shirts’ to Buccaneers: The Battle of New Orleans in American Culture, an exhibition celebrating the bicentennial of the Battle of New Orleans, opening Jan. 9, 2015 in the Cabildo.

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283

C REOLE WORLD Photographs of New Orleans and the Latin Caribbean Sphere

Discover the historically rich, interconnected Creole world in the new exhibition and book from The Historic New Orleans Collection. Photographer Richard Sexton’s vibrant images link cities cut from the same cultural cloth, from Panama, Cuba, Haiti, and Colombia back home to New Orleans. Brimming with color, movement, and surprises, this book celebrates the complex past, present, and future of a growing Creole world.

Creole World: Photographs of New Orleans and the Latin Caribbean Sphere

by Richard Sexton KDUGFRYHU Ăť [ Ăť SS FRORU LPDJHV EODFN DQG ZKLWH LPDJHV ,6%1

Book now available at major online retailers.

Exhibition on view through December 7 The Historic New Orleans Collection’s Laura Simon Nelson Galleries for Louisiana Art

www.hnoc.org

P U B LI S HIN G THE CU LT U R E & HI S TO RY O F NE W O R LE AN S & THE GU LF S O U TH 284

ON THE COVER: )DFDGH 7ULQLGDG &XED k5LFKDUG 6H[WRQ SKRWRJUDSKHU ABOVE: &UHROH EXLOGLQJ )UHQFK 4XDUWHU 1HZ 2UOHDQV k5LFKDUG 6H[WRQ SKRWRJUDSKHU

The Hermann-Grima + Gallier Historic Houses are proud to announce our new publication...

Luxury, Inequity & Yellow Fever reveals the intricate details of 19th-century New Orleans through the majestic photography of Kerri McCaffety.

Proceeds benefit the preservation, interpretation and education programs of the Hermann-Grima + Gallier Historic Houses.

To secure your copies, email us at book@hgghh.org

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

285

Important Bidding Information All Absentee/Telephone bids for the Friday, Saturday and Sunday auction sessions must be received by Thursday, November 20 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: George Inness - In our qualified opinion, we believe the work is by 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.

286

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

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.

After George Inness - In our qualified opinion, the work is a copy of a known work of the artist named.

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.

B

C.F. Bailey, 1312 Victoria S. Barnett, 1180 Pietro Barzanti, 1393 Leonard Baskin, 660 Tony Bass, 945 Romare Bearden, 619 Ronald Bechet, 949 Belgian School, 1060, 1197-98 Jacques Nicholas Bellin, 770 “Canaletto” Bernardo Bellotto (mnr), 349 Frank Weston Benson, 365 Thomas Hart Benton, 621 François Bernard (attr), 488 Edmund Blume, 1219 Johannes Boesen, 740 Rosa Bonheur (aft), 409 Edward Borein, 1381 Angel Botello, 958 Charles Arthur Bourgeois, 898 Douglas Bourgeois, 684 Charles Wellington Boyle, 502-04 Gustave de Breanski, 1063 Arthur Briscoe, 1226 British School, 286, 1224-25, 1287, 1297 George Elmer Browne, 602 William Henry Buck, 505 Karl A. Buehr, 1291 Jean Bulio (aft), 323 Hans Burgkmair, 1344

C

Alexander Calder, 688 Pieter Casteels III (aft), 739 Gabriel Henriques de Castro, 410 Robert Cauer, 716 R.A. Clarke (aft), 288 Pierre Clausade, 372 Maude Schuyler Clay, 978 John Clemmer, 662-63 Jean-Baptiste-Auguste Clesinger (aft), 325 Jacques-Marie-Michel Collet (aft), 563 Continental School, 206, 322, 416, 556, 839, 840, 1220, 1227, 1296 Leslie Cope, 1163, 1184 John E. Costian, 1345 Edmund Thornton Crawford, 867 Boyd Alvyk Cruise, 617 Xavier Cugat, 956 John Steuart Curry, 620

D

Charles François Daubigny, 351

Warren Davis, 957 Stephen Paul Day, 1036 Édouard Paul Delabrierre, 896 Paul Devillers, 1294 Joseph Dickenson, 1407 Joshua Dighton, 385 Edward von Siebold Dingle, 1160 Simon Johannes van Douw (attr), 350 Alexander John Drysdale, 511, 514, 653-54, 994, 996, 1149-1153, 1161-62 George Bauer Dunbar, 630, 661 William (Bill) Ralph Dunlap, 685-86, 1146 George Valentine Dureau, 656, 959-60 Albrecht Dürer, 387 Caroline Durieux, 1143 Dutch School, 1223, 1295

E

Ignaz Ellminger, 1058 Lin Emery, 658-59

F

Jerry Farnsworth, 1399 Jacques-Martin Ferrières, 604 Francisco Flora, 596 Leonard Tsuguharu Foujita, 732 French School, 767 Johnny Friedlaender, 964 Charles Fritchie, 1448-49 Georgia Timken Fry, 1397 George Fuller, 838

Jacquemain, fils, 539 Alfred Jansson, 1018 Joseph Jefferson, 1131 Harry John Johnson, 1311 Richard Johnson, 944, 948

K

Eleftherios Karkadoulias, 1305 William Keith, 364 James L. Kendrick III, 972 Alberta Kinsey, 670-72, 992, 1000 Ida Rittenberg Kohlmeyer, 629, 682 Elaine Schwartz Kolp, 1178

L

James R. Lamantia, 973 Walter Franklin Lansil, 1398 Latin American School, 954 Henri De Lattre, 507 Clarence John Laughlin, 974-977, 980 Sir Thomas Lawrence (attr), 866 Marie de Hoa LeBlanc, 618 Jeanne Philiberte Ledoux (attr), 582 Arthur Leduc (aft), 561 Auguste Louis Lepere, 407 Robert Lie, 1017 Annibale De Lotto, 573 George B. Luttrell II, 1402

M

François Gall, 213, 217 Arnold Genthe, 1218 Rolland Golden, 1159 Friedrich Goldscheider, 1035 Xavier Gonzalez, 1377 Robert Gordy, 943, 963 Greek School, 1222 Angela Gregory, 778 Oliver Dennett Grover, 603 Fredrick Guess, 942 Paolo Guiffre, 952 Émile Guillemin, 729 Simon Gunning, 965

Marian Francis Acker Macpherson, 1142 Thomas Maley, 1400 Peter Joseph Lawrence Mars, 1404 Nicola Marschall, 1129 Roy Martell Mason, 1157 Julia M. Massie, 1158 Henri Matisse, 204 John McAuliffe, 1290 John McCrady, 669, 687 H.A. Meadows (attr), 1062 Pierre-Toussaint Frédéric Mialhe (attr), 464 James Michalopoulos, 982 Jack Raymond Miller, 1409 Joan Miró, 607 Berthe Morisot, 207 Leopold Carl Muller (mnr), 738 Anne Wells Munger, 1002, 1144-45

H

N

G

Theora Hamblett, 967 James Carl Hancock, 1408 Colette Pope Heldner, 997, 1405-06 Robert Henri, 681 Eustache Herisson, 769 Morris Henry Hobbs, 667-68, 961, 1174 Peter Lanz Hohnstedt, 995 Winslow Homer, 622 Louis Hottot, 575 Marie Atkinson Hull, 1001 Clementine Hunter, 615-16, 673, 968-70, 1147-48, 1156 Sidney Hutter, 1434 Alfred Heber Hutty, 674, 675, 676 Hypolite, 955

I

Italian School, 1059

J

James Jackson, 1289

S

Philip Sage, 1383-84 José Francisco Xavier de Salazar y Mendoza, 463 Raffaelo “Raphael” Sanzio (aft), 408, 841 Paul Turner Sargent, 1395 Henry Schouten, 1061 Guillaume Seignac, 371 Kendall Shaw, 950 Everett Shinn, 683 Louis Silas, 842 Hunt Slonem, 632, 1119 Brett James Smith, 1382 Jennifer Lynn Smith, 1417 Michael P. Smith, 979 Alexander Stolin, 981 William Strang, 868 Meyer Straus, 490-91 Harold Arthur Streator, 1380 Southern School, 513, 1132, 1182, 1185 Will Henry Stevens, 631

T

Antoni Tàpies, 664 Emmitt Thames, 1183 William Tolliver, 971 Paul Trebilcock, 951 Homer E. Turner, 1177 Henry Emerson Tuttle, 869

V

Jean-Joseph Vaudechamp, 487 Elizabeth O’Neill Verner, 677 George Louis Viavant, 509-10 Jacques Villon, 689 Frederick Volck, 777 Hubert M. Vos, 555

W

Patrick Nasmyth, 1082 William Neuser, 1288 Kenneth Noland, 983 August Norieri, 512 A. de Nottbeck, 1019-1021

O

Will Ousley, 1413-14

P

Achille Peretti, 508 Marie Adrien Persac (aft), 523 George W. Pettit, 1081 Theodore Poleni, 1173 William Pollard (attr), 489 Dod Proctor, 623 Eleanor Hancock Pryor, 1401

R

Charles Whitfield Richards, 946, 993 William Trost Richards, 366 George Rodrigue, 214-16, 655, 870, 966 Harry Herman Roseland, 1379 Harold B. Rotenberg, 367 Georges Rouault, 605-06 Leon Roussel (aft), 562 Robert M. Rucker, 1154-55, 1181 Sigmond Russell, 1176

Vincent Nicholas Raverat, 487 Man Ray, 205 Pierre-Auguste Renoir, 208-10, 1343

Cora Keeley Ward, 947 Harry Wilson Watrous, 737 Franz Weiss, 1403 Dell Weller, 1175 William Edward West (aft), 465 James Abbott McNeill Whistler, 386 Joseph Woodson “Pops” Whitesell, 1165-66 John Haynes Williams, 1080 Theodore “Fonville” Winans, 1164 Jacob de Wit (follower), 411 Margaret Witherspoon, 1179 Mildred Wohl, 941 John L. Boqueta de Woiseri, 517A Laura Woodward, 1141 Stanley Woodward, 1293 Johann Heinrich Wüst, 1221

Z

Hans Zatzka, 715 Francisco Zuniga (aft), 953

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

287

✹

Franklin Adams, 940 George James Aldrich, 1292 Henry Alken (aft), 287 Wayne Amedee, 962 American School, 506, 837, 1022, 1130, 1378, 1396 James McConnell (Mac) Anderson, 998-99 Victor Coleman Anderson, 1412 Edward Everard Arnold, 1128 Jean (Hans) Arp, 657 John James Audubon, 432, 771, 772-74, 1168-69

November 21, 22, & 23, 2014 ✹ artist index ✹ artist index ✹ artist index

A

Neal Auction Company Auctioneers & Appraisers of Antiques & Fine Art 4038 Magazine Street, New Orleans, Louisiana 70115 504-899-5329 • Fax: 504-617-6539 • www.nealauction.com

Auction Date: Nov. 21, 22 & 23, 2014

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, 11/19/14.

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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Fax this form to 504-897-3808 on or before Wednesday, 11/19/14.

288

Neal Auction Company

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Auctioneers & Appraisers of Antiques & Fine Art 4038 Magazine Street, New Orleans, Louisiana 70115 504-899-5329 • Fax: 504-617-6431 • www.nealauction.com

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14/10M

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✍ Signature Required

Date

For Internal Use Only: Approved_ _____________Registered____________ Entered_ ____________ Clerks Initial________________ Account #_ _________________ Confirmed_______________________

Fax Form on or before Thursday, 11/20/14 to 504-617-6431 or 504-617-9990

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

289

Neal Auction Company

#

Auctioneers & Appraisers of Antiques & Fine Art 4038 Magazine Street, New Orleans, Louisiana 70115 504-899-5329 • Fax: 504-617-6431 • www.nealauction.com page 2 14/10M

Name: ________________________________________________________________________

Lot#

Description

Bid Amount $ or Telephone

I understand that Neal Auction Company undertakes the execution of absentee bids as a convenience for clients and is not responsible for inadvertent fail­ ure to execute bids, or for any error in the execution of bids. I have read and agree to the “Conditions of Sale” as stated in the catalogue. I understand that a buyer’s premium will be charged on each lot purchased at 22% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchase made by cash, check or wire transfer within 15 days of the auction, the buyer’s premium shall be discounted 2.5% of this 22%. No exceptions.

✍ Signature Required For Internal Use Only: Approved________________________ Registered________________Entered_ ______________________ Clerks Initial_____________________ Account #______________ Confirmed_______________________

290

Date

Fax Form on or before Thursday, 11/20/14 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 payments made by cash, check or wire transfer within 15 days of the auction, the buyer’s premium shall be discounted 2.5% of this 22%.

2. Online bidding is available at a buyer’s premium in the amount of 25% of the hammer price. A cash discount is not available for purchases made online.

3. 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.

4. Documentation of tax exemption must be provided upon registration.

5. 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.

6. VISA, MasterCard, Discover and American Express are accepted for invoices up to $25,000 per customer.

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 requires 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.

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

291

Auction Results for September 2014 0001-$1045 0002-$984 0003-$215 0004-$123 0005-$1195 0006-$836 0007-$1434 0008-$3198 0009-$1353 0010-$119 0011-$1553 0013-$1314 0015-$1075 0016-$2074 0017-$671 0019-$854 0020-$1912 0021-$1434 0022-$956 0025-$676 0026-$307 0027-$358 0028-$537 0032-$732 0034-$12300 0036-$861 0037-$488 0038-$717 0039-$1586 0040-$4780 0041-$1195 0043-$1553 0044-$2684 0046-$1075 0048-$956 0049-$1599 0051-$1159 0052-$179 0054-$3883 0055-$3965 0057-$5795 0058-$1952 0059-$492 0060-$1912 0062-$5377 0063-$478 0066-$2460 0067-$1230 0068-$1464 0069-$3690 0070-$4270 0073-$3585 0074-$4612 0075-$956 0077-$2688 0079-$1195 0080-$1553 0083-$1464 0085-$1314 0088-$3585 0089-$956 0090-$615 0092-$1434 0093-$2135 0094-$836 0095-$1912 0098-$956

292

0099-$1952 0100-$984 0101-$4481 0102-$1673 0103-$1353 0104-$836 0106-$2151 0108-$488 0109-$1476 0111-$1434 0112-$2270 0113-$2031 0115-$2748 0117-$2337 0118-$1434 0119-$2031 0120-$478 0122-$717 0123-$597 0124-$861 0127-$418 0129-$1195 0130-$1107 0131-$1314 0132-$2987 0133-$1586 0135-$976 0136-$369 0137-$657 0138-$418 0139-$717 0140-$239 0141-$1159 0142-$553 0143-$799 0144-$799 0145-$369 0146-$119 0147-$149 0148-$239 0149-$1015 0150-$478 0152-$956 0155-$430 0156-$119 0157-$358 0158-$418 0161-$861 0162-$478 0163-$478 0165-$2337 0166-$2196 0168-$1195 0169-$1075 0171-$418 0175-$1434 0182-$23900 0183-$537 0185-$1314 0189-$1107 0192-$25095 0193-$5377 0194-$2031 0196-$7170 0199-$6572 0204-$1599 0205-$3286

0207-$4612 0295-$2509 0208-$1230 0297-$836 0210-$2460 0299-$2151 0211-$2745 0300-$1342 0213-$1586 0302-$776 0214-$610 0303-$4780 0215-$1434 0306-$896 0217-$3286 0308-$1845 0219-$3585 0309-$1912 0220-$4920 0315-$3567 0221-$1912 0316-$3286 0222-$2460 0318-$1912 0223-$2688 0321-$4305 0224-$6572 0322-$1195 0225-$2390 0323-$615 0226-$2151 0324-$615 0227-$8663 0325-$657 0228-$3883 0326-$976 0229-$3585 0329-$1195 0230-$1476 0330-$984 0231-$1673 0334-$179 0232-$1434 0336-$522 0234-$1553 0337-$492 0235-$4182 0342-$2629 0236-$6457 0343-$2460 0237-$4780 0348-$8610 0238-$2390 0351-$1912 0239-$119 0352-$1553 0240-$399 0355-$15535 0241-$776 0356-$1230 0242-$3585 0357-$418 0243-$5078 0358-$418 0244-$2987 0359-$3704 0246-$956 0361-$1195 0247-$2629 0362-$3883 0248-$155350 0363-$478 0251-$4780 0364-$1434 0252-$1195 0365-$239 0253-$1075 0366-$1195 0254-$1912 0368-$1673 0255-$305 0369-$1464 0256-$1230 0370-$1342 0258-$836 0371-$976 0261-$657 0372-$246 0262-$3883 0373-$984 0263-$1553 0376-$1230 0264-$239 0377-$2460 0265-$836 0378-$615 0266-$2337 0379-$836 0267-$836 0380-$358 0268-$1342 0381-$1195 0269-$597 0382-$1708 0270-$836 0383-$984 0271-$1015 0384-$2074 0272-$657 0385-$1586 0273-$492 0386-$3294 0274-$3198 0387-$2151 0277-$2987 0390-$16730 0279-$3585 0391-$11950 0280-$657 0393-$610 0281-$2440 0394-$3107 0283-$1476 0397-$492 0286-$1553 0399-$553 0287-$3198 0400-$246 0288-$1845 0402-$1314 0291-$10157 0404-$1912 0294-$3585 0405-$1673

0406-$1195 0410-$1195 0412-$1195 0413-$2688 0414-$597 0416-$732 0417-$2390 0418-$861 0419-$597 0420-$488 0423-$1098 0425-$1792 0427-$13742 0428-$597 0429-$358 0431-$956 0432-$2767 0433-$615 0434-$4674 0435-$984 0437-$13145 0438-$11950 0439-$8365 0440-$4063 0442-$11950 0443-$8962 0444-$5078 0445-$5975 0447-$15375 0449-$4612 0452-$1912 0453-$3382 0455-$5377 0458-$1792 0459-$22570 0460-$3883 0463-$3355 0465-$1792 0466-$1553 0467-$597 0468-$717 0469-$478 0471-$610 0472-$6100 0473-$29875 0474-$5795 0475-$3585 0476-$9560 0477-$2987 0478-$956 0479-$1135 0480-$492 0482-$2318 0483-$12547 0484-$5975 0485-$2987 0486-$657 0488-$2952 0489-$369 0491-$2829 0494-$4182 0495-$956 0497-$1792 0498-$2509 0499-$5535 0500-$6150 0501-$2987

0502-$717 0503-$1586 0504-$799 0505-$717 0506-$2629 0507-$1434 0510-$956 0511-$239 0513-$793 0516-$537 0517-$2583 0518-$2390 0521-$2151 0534-$2390 0536-$4182 0540-$1912 0541-$1434 0546-$478 0547-$615 0548-$1195 0549-$1195 0551-$369 0552-$1476 0553-$537 0554-$307 0555-$799 0556-$799 0557-$1045 0558-$896 0559-$537 0561-$1599 0562-$836 0563-$123 0564-$358 0565-$1314 0566-$738 0567-$956 0568-$3286 0569-$3965 0570-$4481 0571-$836 0572-$861 0577-$738 0579-$854 0580-$1599 0581-$488 0582-$676 0583-$976 0584-$430 0586-$418 0587-$1353 0589-$2390 0590-$2091 0592-$1464 0593-$657 0594-$2987 0598-$1230 0608-$861 0611-$1464 0613-$179 0616-$984 0619-$518 0620-$153 0622-$183 0623-$671 0624-$861 0626-$122

0628-$123 0629-$1195 0633-$1314 0634-$209 0635-$149 0636-$209 0637-$179 0639-$478 0646-$179 0650-$836 0651-$518 0652-$478 0654-$123 0660-$358 0661-$149 0664-$597 0666-$615 0667-$179 0669-$657 0670-$836 0671-$2270 0672-$209 0674-$244 0675-$92 0676-$2583 0678-$239 0680-$209 0681-$369 0682-$179 0684-$1708 0685-$4302 0686-$2390 0687-$854 0688-$717 0689-$597 0690-$119 0691-$183 0692-$615 0693-$492 0694-$657 0695-$268 0696-$1045 0697-$861 0698-$836 0699-$358 0700-$478 0701-$239 0702-$1912 0703-$1708 0704-$358 0705-$239 0706-$119 0707-$478 0708-$1792 0709-$5377 0710-$1673 0711-$1075 0712-$956 0715-$1075 0717-$1845 0718-$3321 0719-$597 0720-$3107 0721-$239 0722-$3286 0723-$610 0724-$597

0725-$478 0726-$1912 0727-$597 0728-$427 0729-$597 0730-$732 0731-$7767 0732-$2460 0733-$1075 0734-$836 0735-$179 0736-$239 0737-$246 0738-$307 0739-$478 0740-$298 0742-$610 0743-$239 0745-$1015 0746-$123 0747-$239 0748-$179 0749-$657 0750-$149 0751-$358 0752-$239 0753-$59 0754-$119 0755-$215 0756-$239 0757-$537 0758-$1195 0759-$298 0761-$246 0762-$717 0763-$553 0764-$717 0765-$956 0766-$657 0767-$676 0768-$2390 0769-$738 0774-$2629 0776-$239 0777-$1195 0779-$246 0780-$1708 0781-$2337 0782-$246 0783-$369 0784-$717 0785-$358 0789-$478 0791-$836 0795-$717 0796-$984 0797-$836 0798-$13742 0799-$1792 0800-$5377 0801-$1599 0804-$2629 0805-$956 0807-$1830 0808-$488 0809-$369 0810-$2868

0811-$4421 0812-$1792 0813-$366 0814-$615 0819-$11352 0820-$3172 0821-$676 0823-$1464 0824-$239 0825-$1015 0827-$732 0830-$298 0833-$1830 0834-$2091 0837-$615 0838-$418 0845-$1314 0848-$2152 0849-$836 0852-$478 0855-$2091 0856-$5227 0857-$1434 0859-$246 0861-$1195 0862-$2151 0864-$478 0865-$861 0866-$1434 0868-$209 0869-$179 0875-$152 0876-$358 0877-$676 0879-$358 0880-$1195 0881-$1792 0882-$2214 0883-$2031 0884-$366 0887-$5185 0889-$836 0890-$239 0892-$2509 0893-$1792 0896-$2868 0899-$836 0900-$1673 0903-$1722 0904-$1434 0906-$418 0907-$717 0909-$478 0910-$597 0911-$1015 0913-$244 0915-$366 0917-$427 0918-$298 0919-$478 0920-$478 0922-$358 0924-$4612 0925-$478 0926-$717 0927-$430 0930-$4305

0931-$836 0932-$1195 0933-$1045 0934-$478 0938-$1792 0939-$610 0940-$717 0942-$298 0943-$478 0946-$152 0947-$492 0948-$427 0949-$676 0951-$478 0952-$358 0954-$149 0955-$179 0956-$461 0958-$179 0959-$478 0960-$179 0961-$268 0962-$184 0963-$179 0964-$246 0966-$244 0968-$427 0969-$179 0970-$298 0971-$492 0972-$1434 0973-$610 0975-$732 0978-$478 0979-$244 0982-$1045 0988-$1195 0989-$1912 0990-$1135 0991-$1353 0992-$478 0993-$478 0994-$1135 0995-$244 0997-$149 0998-$776 1000-$239 1001-$358 1002-$478 1003-$657 1004-$597 1005-$2987 1007-$776 1008-$549 1009-$492 1010-$358 1011-$597 1013-$1830 1015-$597 1016-$239 1017-$1553 1018-$956 1019-$2270 1020-$2214 1025-$369 1026-$239 1027-$2337

1028-$1792 1029-$717 1030-$5676 1031-$305 1033-$488 1034-$671 1035-$119 1036-$239 1037-$358 1038-$418 1039-$179 1041-$1553 1046-$179 1047-$956 1051-$268 1053-$239 1054-$239 1055-$615 1060-$149 1063-$1342 1065-$1314 1068-$369 1069-$179 1071-$358 1072-$298 1077-$549 1078-$676 1079-$244 1080-$717 1081-$1586 1082-$2509 1085-$478 1088-$298 1089-$179 1090-$119 1091-$246 1092-$298 1095-$122 1096-$492 1099-$732 1100-$478 1101-$246 1102-$836 1104-$369 1106-$239 1109-$358 1111-$244 1112-$298 1113-$239 1114-$478 1117-$793 1119-$276 1122-$239 1123-$1045 1124-$956 1127-$119 1128-$239 1131-$399 1132-$123 1133-$239 1134-$358 1135-$537 1139-$478 1142-$488 1143-$244 1144-$657 1147-$366

1148-$246 1151-$209 1154-$358 1155-$239 1156-$328 1157-$597 1159-$149 1160-$492 1161-$119 1163-$537 1164-$610 1165-$549 1167-$369 1168-$537 1169-$430 1170-$244 1171-$640 1172-$717 1173-$268 1175-$149 1176-$122 1177-$1525 1178-$298 1179-$298 1183-$866 1184-$657 1185-$1015 1186-$732 1188-$522 1190-$239 1191-$366 1192-$246 1193-$183 1194-$153 1194A-$123 1196-$119 1200-$239 1202-$209 1206-$209 1207-$122 1208-$149 1209-$676 1210-$119 1213-$567 1214-$717 1217-$89 1218-$358 1220-$89 1221-$123 1222-$119 1223-$89 1224-$89 1225-$119 1226-$209 1227-$836 1228-$239 1229-$366 1230-$338 1231-$209 1232-$298 1233-$366

Neal Auction Company John R. Neal Neal Alford Katherine Hovas Chairman President Senior Vice President Rachel Weathers Vice President Paintings & Fine Art

Marc Fagan Vice President Consignments

Michelle LeBlanc Leckert, CAI Vice President Bettine Field Sackey Vice President Buisness Development

ADMINISTRATION

CONSIGNMENTS

Director of Administration & Finance Michelle LeBlanc Leckert, CAI Database Manager/Assistant to Director Jackie Hernandez Client Services Rebekah Abernathy Administrative Assistant/ Internet Auction Administrator Lisa Weisdorffer

Furniture & Decorative Arts Neal Alford; Rachel Weathers Paintings, Prints & Photography Rachel Weathers; Marney Robinson Books, Maps & Natural History Prints Marc Fagan Silver & Decorative Arts Katherine Hovas Asian Arts Bettine Field Sackey Consignments & Evaluations Claire Thriffiley Research Nicole Casi, Ph.D. Inventory Coordinator Stephen Dewey Consignments Administrator Johanna Darilek

GENERAL MANAGER Jason Leckert

GRAPHICS Art Director Emory Nolan Catalogue Design Carolyn Finnell Photography Jason Leckert Tom Simpson Jason Kruppa

AUCTION SERVICES Director of Museum Services & Research Douglas Lewis, Ph.D., F.A.A.R. Trust & Estates Advisor Henry G. McCall Senior Appraiser Fine Arts Amanda Mantle Winstead Appraisals Rachel Weathers; Marc Fagan

OPERATIONS Director of Operations Charles Lee Operations Staff Charlie Clay Kelvin Gibson Jerry Majors Chad Whittle

CATALOGUE CONSULTANTS

EXHIBITION STAFF Mimi Abbott Cecile Ballard Sybil Lawson Ann Mahorner

Cammie Mayer Clare Stewart Carolyn Wogan

AUCTIONEERS Neal Alford #797 Michelle LeBlanc Leckert #1514 Bettine Field Sackey #1874

Paintings & Fine Arts Claudia Kheel Furniture & Decorative Arts Doris Mollenkopf Newcomb Pottery & Decorative Arts Sally Main Silver Carey Mackie Decorative Arts & Victoriana Ann M. Masson Asian Arts Richerson Rhodes

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