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Neal Auction Louisiana Purchase AuctionTM November 19 & 20, 2011

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Front Cover (detail): James Guy Evans (English/American, c. 1810-after 1860), “Arrival of Gen. Z. Taylor & Staff at Balize on the U. S. Steam Ship Monmouth,” o/c, sd., 29 x 36 in. Back Cover (detail): 1.J.W. Hill & B.F. Smith, “New Orleans from St. Patrick’s Church 1852,” litho., later h/c, publ. Smith Brothers & Co., NY, sheet 28 1/8 x 43 in. This Page (detail): An Important American Rococo Carved Walnut Center Table, mid-19th c., stamped James G. Blake, Boston.


LOUISIANA LOUISIANAPURCHASE PURCHASEAUCTION AUCTION™ October November 6 19&& 7, 20,2007 2011 On Our Premises 4038 Magazine Street & 3923 Carondelet Street • FEATURING: 18th and 19th c. American, French and English antiques, Southern paintings, historical material and decorative arts especially consigned by discerning collectors, estates and institutions, including: • The Succession of Harry T. Howard III (1931-2011), New Orleans • The Estate of Richard Godchaux Hirsch, New Orleans • The Seliskar Collection of Important Furniture, Lighting and Decorative Arts, Morrilton, AR • Property from the Collection of a Discerning French Quarter Gentleman • Part II, Property from the Collection of Texas Antiquarians Jack & Kate Wheeler • Part II, A Gentleman’s Collection of West Indies Furniture • Property Deaccessioned by the Louisiana Landmarks Society, Pitot House • Chinese Art Descended in the Family of Benjamin Franklin March (1899-1934), Curator of Asian Art, Detroit Institute of Arts (1927-1931) • Period Furniture from the Collection of Irving and Bettie Redler, New Orleans

EXHIBITION beginning Monday, November 7, 10 a.m. to 5 p.m. Special Saturday Preview, November 12, 10 a.m. to 5 p.m. Evening Preview Reception, Thursday, November 17, 5 to 8 p.m. AUCTION SCHEDULE Saturday, November 19, 10 a.m., 4038 Magazine Street Sunday, November 20, 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 • La. Auc. Lic. , Neal Auction Co. #AB-107, Alford #797, LeBlanc # 1514, Hinshelwood #1750


Harry T. Howard III Harry T. Howard III (1931-2011), was a lawyer, businessman and avid game fisherman. He came from a prominent New Orleans family with a history in business and philanthropy, deep roots in Carnival, and a tradition of collecting. One of the Howard family’s notable civic contributions is the Howard Memorial Library, an imposing 1889 Richardson Romanesque structure at 615 Howard Avenue, on the river side of Lee Circle. The collection is now part of the HowardTilton Memorial Library of Tulane University. The building still stands and is known today as the Patrick F. Taylor Library, part of the Ogden Museum of Southern Art. Harry T. Howard III and a Prize Sailfish

Another notable Howard contribution, also a handsome Romanesque structure, is the Confederate Memorial Hall, built in 1891 at 929 Camp Street to house the collections of the Louisiana Historical Association. Today its collection of Confederate Civil War objects is second only to the Museum of the Confederacy in Richmond.

The Mason Smith/Howard House, 4534 St. Charles Avenue

Mr. Howard’s great-grandfather, Charles T. Howard, reigned as Rex in 1877, his grandfather, Harry T. Howard, in 1888, and his great-uncle, Frank T. Howard, in 1895. His mother, Elise Mason Smith, and his sister, Marguerite Elise Howard, reigned as Queen of Comus, in 1917 and 1954, respectively.

The Howard estate collection reflects the tastes and interests of the succeeding generations of this notable family, and includes important paintings, antique furniture and decorative objects, rare books and memorabilia. Neal Auction Company is pleased to offer this important historic collection. Ref. A Dictionary of Louisiana Biography, pp. 410-411.

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Session One Saturday, November 19, 10 am 4038 Magazine Street

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W 4. A Group of Three Grand Tour Ceramic Vessels,

in the Geometric, Corinthian, and “Bilingual” Styles, 19th c., height of tallest 11 1/4 in. 1. A Chinese Export Mandarin Palette Porcelain Punchbowl, 18th/19th c., U-form body raised on a tall foot ring, enameled to the exterior with alternating shaped cartouches enclosing famille rose enameled garden scenes with figures at leisurely pursuits and sepia and iron red enameled bird5 on-branch scenes, reserved on a multi-colored ground with gilt diapering, the interior with a central figural roundel beneath foliate and bird-on-branch bands along the rim, height 6 1/8 in., depth 15 7/8 in., wood stand, overall height 8 1/4 in. $1200/1800 W 2. A Pair of Chinese Export Kangxi-Style Blue and White

Porcelain Foliate Rim Dishes, 18th/19th c., each well with a large roundel enclosing flowering plants, encircled by a band of pendant ruyi heads around the cavetto, the foliate rim with a diaper band, the first base with an Artemisia leaf mark, the second with a four-character Kangxi mark, both marks within double blue circles, heights 1 3/8 in., diameters 10 7/8 in. and 11 in. respectively. $500/700 W 3. A Chinese Export Famille Rose Porcelain Bowl, 19th c.,

U-form body raised on a tall circular foot, enameled around the exterior with a profusion of flower sprays, the interior rim with a gilt band above a central floral arrangement, height 3 1/4 in., diameter 7 3/4 in. $150/250


$500/1000 Note: This group of Black-Figure (as well as Black-and-Red-Figure) vases features a pseudo-Geometric Lekythos, in which black stick-figure forms are painted on a buff ground, in the familiar “Dipylon” style; a pseudoCorinthian Aryballos, in which animals executed in both black and red pigments are seen on a central band interspersed with rosettes; and a striking White-Ground Lekythos, in which worshipping figures in both Black- and Red-Figure styles (in imitation of the so-called “Bilingual” manner) are enlarged on a monumental frieze, between foliate and rayed ornament. The quality of the painting and patination is uniformly high, and suggests that these Grand Tour ceramics may be the product of a sophisticated Neapolitan workshop. 5. A Group of Two Grand Tour Black-Figure Ceramic Vessels, 19th c., height of tallest 17 1/2 in. $500/1000 Note: These striking variations on ancient Greek pottery types include a version of a Kantharos or Kylix (a spreading footed vessel) with a BlackFigure decoration of large labeled figures on a continuous buff-colored ground; and a very tall variant on an “Early Classical” Lekythos, more traditionally decorated with a Black-Figure battle scene on a reserved red ground. The very unusual “waisted” shape of the latter object—in addition to the fact that its central cavity runs open and uninterrupted, from footrim to spout—suggest that the probable Italian shop in which these Grand Tour ceramics were produced may have been staffed by a more than usually inventive potter/painter. 6. A Group of Three Grand Tour Ceramic Vessels in the Red-Figure Style, 18th/19th c., height of the tallest 13 in. $800/1200 Note: These fine Grand tour vases are only differentiated by slight variations from the classical Greek wares on which they are based. The massive two-handled Pelike (in the style of the late 5th c. BC) is delicately painted with a skin-draped bacchant dancing to the music of his flutebearing companion; only the unorthodox foliate décor on the top of the rim betrays the Grand Tour date. The flanking vessels include a somewhat pot-bellied Black-Neck Lekythos, with an unusual scene of two dancers—a nude male and a draped female—both holding long draperies; and a type of Spouted Oinochoe, with another Red-Figure scene of a bearded bacchant pursued by an archer. These last two vases bear inventive variants of standard ornamental motifs, and their painted figures are somewhat over-scaled; but apart from such subtle anomalies, this group could well be mistaken for typical Greek products of two-and-a-half millennia earlier. The highly sophisticated shop in which they were made was perhaps in Naples.


W 7. A Group of Three Grand Tour

Red-Figure and Polychrome Ceramic Vessels, 19th c., height of tallest 12 1/2 in.

8. An Italian Carrara Marble Figural Jardinière, late 19th c., signed at right rear on the lower edge of the marble, “Prof. A. Petrilli[?] Firenze / Made in Italy”, on a verde antico base, height 31 1/2 in., width 42 1/2 in., depth 15 in.



Note: This group of three ceremonial “gravefurnishings” is dominated by a very fine WhiteGround Lekythos in the Early Classical taste, decorated on a large central field with a female figure seated on a “klismos” chair, and approached by a tall, winged male figure; both are exquisitely drawn in thin black outline (though the male figure’s wings—as well as the suspended ribbons—are tinted in red). The short, Red-Figure Column Krater is more conventionally painted with a group of horseman and a battle scene, and has an “archaeological” patina; the interesting Squat Lekythos is decorated with a polychrome scene of a seated female figure approached by a crouching winged figure, somewhat in the manner of South Italian “Apuleian” wares of the Classical period. The group epitomizes the sophisticated style of the workshop (perhaps in Naples) where these fine Grand Tour ceramics had their origin.

Note: This very beautiful work takes the form of an elongated rectangular basin carried by four cavorting putti, modeled with diaphanous swirls of drapery; one sits on the capital of an Ionic column, while beneath their feet is a lightly-carved rockery. The basin itself is embellished with a masterly frieze (executed in rilievo schiacchiato, or very low relief) of five garland-bearing putti—of about one-quarter the size of their three-dimensional fellows below—on both of the long sides; the short sides are each decorated with a shield of Florentine noble arms, one of a lion rampant, and one with a patterned “bend,” or diagonal bar. The basin is a miniature variant on the famous marble Cantorie or singing galleries in the Florentine cathedral of S. Maria del Fiore, respectively by Donatello (who invented the technique of rilievo schiacciato around 1417) and Luca della Robbia, of 1431-1438; the attitudes of certain of these putti are indeed based directly on Donatello’s life-size frieze. Professore A. Petrilli was the head of a family firm of marble-carvers, who derived his title from his professorship in the Florentine Accademia di Belle Arti; he is known to have been active from c. 1865 or 1870 to after the turn of the last century (his probable brother G. Petrilli worked from about 1845 to 1907). Masterworks by both sculptors have been offered at auction (A. Petrilli, Christie’s London, 24 February 2005, lot 118, a marble jardinière on an elaborate putto-decorated column; and G. Petrilli, Sotheby’s New York, 3 May 2000, lot 230, a life-size nude female figure of the “Stella Polare” from the “Galleria Prof. A. Petrilli”). All their published productions are characterized by a breathtaking delicacy and subtlety of workmanship, usually in the style of the 15th c. Renaissance. This spectacular object is a particularly worthy exemplar of the Petrilli oeuvre.

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11. A Pair of Continental Patinated Bronze and Cut Glass Four-Light Candelabra, late 19th c., tiered standard issuing scrolled supports, hung with amethyst and amber glass grapes and prisms, electrified, height 21 1/2 in., diameter 10 in. $600/900 12. A Good Louis Philippe Gilt Bronze Two-Light Bouillotte Lamp, c. 1840, the base marked “MB”, the intertwined candle arms on a rocaille and scrolled base, fitted with an adjustable silk inset screen, fruit finial, height 21 1/2 in., width 9 in., depth 4 3/4 in. $500/700 13. A French Bronze of Eros, early 20th c., after Jean Louis Gregoire (French, 18401890), on rouge marble base, height 21 3/4 in. Note: Missing top portion of torch.


9. A Fine Pair of Rörstrand Majolica Pedestals, late 19th c., with stamped and impressed marks, tapering, columnar form, the capital with masks and scrolls, floral decoration glazed in blues, greens and gold, height 46 in., width 12 3/4 in., depth 12 3/4 in. $2000/3000


10. An Antique Neoclassical Scagliola Pedestal, circular variegated green column, stepped molded collar on square base, height 43 in. $1000/1500



14. A French Bronze of the “Borghese Gladiator”, late 19th/ early 20th c., after the c. 100 BC Hellenistic statue now at The Louvre, Paris, on a plinth base, height 26 1/4 in. $1000/1500 Reference: Haskell and Penny, Taste and the Antique, Yale University Press, New Haven, 1981, pp. 221-224.


15. A Fine Louis Philippe Gilt and Patinated Bronze Three-Piece Clock Garniture in the Chinese Taste, mid-19th c., the pagoda-form clock with silk-thread movement, striking bell in tower, four paired columnar supports with dragons and birds, court figures holding a phoenix and lute, the rocaille base mounted with chrysanthemums, reticulated gallery inset with alternating snakes and bees, on dragon feet, the conforming garniture urns with dragon handles and chrysanthemum basket mounts, clock height 24 in., width 9 3/4 in. depth 6 1/2 in., urn height 17 1/2 in. $6000/8000


Note: This superb Chinoiserie garniture is in the form of a central clock conceived as a temple pagoda, with paired corner columns displaying harpy capitals, supporting an ornate superstructure in the form of an open, columned lantern with a fixed bell (which is struck by a moving hammer), with four stages of conical roofs tapering pyramidally, all picked out with embossed bells and flowers, lavishly gilded. The platform at the base of the columns—which are set on dragon-decorated piers—is bordered by a geometric balustrade, and occupied by a wonderful pair of exquisitely detailed three-dimensional figures, of a princess playing a lute, and a ruler launching a phoenix from his arm. The whole is set on a high rockery exhibiting foliate appliqués, bounded by a gilded fence with insect and serpentine motifs, and terminating in gilt dragon-form feet. The flanking urns or covered vases have conforming pagoda-like tops, and handles in the shape of large winged dragons with upturned tails: the shoulders between them are embossed and gilded, and the patinated bodies display peonies and chrysanthemums in large gilt appliqués; the elaborate socles are cast and gilded with geometric motifs. These flanking urns are set on tall prismatic plinths (also embellished with foliate appliqués), surrounded with conforming fences, and terminate with somewhat more restrained dragon-embossed feet. Such very lavish ornamentation bespeaks the height of the “Aesthetic Movement,” and indeed exactly such mantel clocks in the fictive forms of Chinese temples—though rarely as exuberantly elaborate as this—were in fact purveyed by the most fashionable retail houses in Paris, London, and New York. W denotes the lot is illustrated at




19. A Chinese Famille Rose Porcelain Covered Lantern with French Gilt Bronze Mounts, 19th c., the porcelain of globular hexagonal form, pierced to each side with an openwork scroll panel, decorated with shaped floral and fruit cartouches on a pink floral and diaper ground, the cover decorated en suite, base with “Tablet of Honor” mark, overall height 15 1/2 in., overall width 13 1/4 in.


16. An Italian Bronze of Silenus Holding Aloft a Serpent-Entwined Circlet, 19th c., after the c. 100 BC standard found at Pompeii and now in the Naples Museum, mounted as a lamp, height 23 1/2 in., diameter 12 1/2 in. $1500/2500 18

17. A Pair of Chinese Kangxi-Style Famille Verte Biscuit Glazed Porcelain Models of Buddhistic Lions, Qing Dynasty (1644-1911), each lion-dog modeled seated on its haunches on a foliate pierced rectangular plinth, the male with its right forepaw resting on a brocade ball, the female’s forepaw resting on an upturned, playful cub, height 15 1/2 in., width 4 7/8 in., depth 9 1/2 in.

$1000/1500 Note: According to William Cowper Prime in Pottery and Porcelain of All Times and Nations, (1878), p. 254, the Buddhist imagery or mark on the base of the porcelain, represented by the swastika enclosed in a lozenge with loops at the corners, is a symbolic one, called the “Tablet of Honor”. Prime writes that “the tablet of honor is an imperial gift to an officer”.

$1000/1500 20. A Chinese Clair-de-Lune Porcelain Baluster Vase, Qianlong mark but 20th c., baluster body with flared neck and stepped foot, reverse carved with a pair of five-clawed dragons standing amid a turbulent sea pursuing the flaming pearl, covered overall in a pale blue glaze thinning to white along the rim, base with apocryphal Qianlong seal mark, height 12 7/8 in.

18. A Pair of Chinese Kangxi-Style Famille Verte Biscuit Glazed Porcelain Models of Buddhistic Lions, each lion-dog modeled seated on its haunches on a foliate pierced plinth, the male with a brocade ball, the female with a playful cub, height 15 3/4 in., width 4 1/4 in., width 7 1/4 in. $600/900

$1500/2500 19


Provenance: Acquired from the Estate of Ernest Lee (1936-1993), Coconut Grove, FL.

21. A Chinese Yellow Ground Famille Rose Enameled Porcelain Bottle Vase, Qianlong mark but 20th c., tapering globular body and cylindrical neck enameled with five fiveclawed scaly dragons in flight amid various floral sprays above a turbulent sea, reserved on a yellow ground decorated with a profusion of yellow chrysanthemum heads, base with apocryphal Qianlong mark, height 16 3/4 in. $800/1200 Provenance: Ex-Collection Murlyon Daniel LaGrone, Jr., Shreveport, LA.



22. A Pair of American Late Classical Carved Rosewood Armchairs, c. 1830, bowed crest above padded back, scrolled arms with shaped uprights, canted cabriole legs.

23. An American Classical Carved Mahogany Daybed, early 19th c., slightly scrolled reeded crest rails, paneled head and footboard flanked by spiral turned columnar stiles, melon feet with brass ball terminals, molded rails, height 36 1/4 in., length 74 1/2 in., depth 30 3/8 in. $1500/2500 Provenance: Estate of Harry T. Howard III, New Orleans.


Note: The symmetry of the head and foot, the scroll crests, the finely figured panel flanked by supports, and the brass ball feet on this bed relate closely to two other daybeds from southern Louisiana, one descended in the Gurley family of East Feliciana Parish, the other from an estate in Avoyelles Parish. 22

Reference: Holden, et. al. Furnishing Louisiana, Creole and Acadian Furniture, 1735-1835, pp. 388-389, fig. 17-18.

24. A Pair of American Gothic Carved Mahogany Side Chairs, early 19th c., attributed to Crawford Riddell, Philadelphia, Gothic arch back, paneled seat rail, ring-turned tapered legs. $1500/2500 Note: Active in Philadelphia 1835-1846, Riddell produced furniture found in grand houses throughout the United States, including Andalusia (Pennsylvania) and Rosedown (Louisiana).

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26. An American Classical BronzeMounted Mahogany Armchair, c. 1820, New York, slightly scrolled crest rail and stiles, scrolled padded arms, rounded seat rail, cabriole legs. $1000/1500 27. A Regency Carved Mahogany Two Pedestal Dining Table, early 19th c., each pedestal with ring-turned upright supports on a rectangular plinth, arched reeded legs, brass cuffs, casters, height 28 in., length 106 in., width 52 in., two later leaves, each 23 5/8 in.


25. A Pair of American Federal Mahogany Footstools, c. 1800, Baltimore, reeded flared scrolled ends, boss terminals, rectangular frame, turned feet.

$3000/5000 28. An Antique RegencyStyle Mahogany Breakfront Bookcase, molded cornice above four glazed doors, the base with central frieze drawer above four doors, blocked base, height 90 in., width 78 in., depth 19 in.


$3000/5000 Provenance: ExCollection Charles Sterling, Philadelphia.





29. A Fine Antique English Gilt Silverplate Tea and Coffee Service, Hodd & Lambert, Middlesex, England, c. 1865, from the estate of the Duke of Abercorn, including a kettle-on-stand, coffee pot, teapot, open sugar and creamer, chased decorative vertical paneled pear-shaped bodies, ornate spouts and kettle stand, the kettle with engraved crest, kettle-on-stand height 15 in. $600/800 30. A George III Sterling Silver Covered Sauce Tureen, London, 1784-85, John Wakelin & William Taylor, mark entered 1776, twohandled navette form on oval pedestal base, reeded rim and handles, slightly domed cover, marked on cover rim and under foot, height 5 1/4 in., width 8 3/4 in., depth 4 3/8 in., weight 21.05 troy ozs.


$1000/1500 31. An English Edwardian Sterling Silver Entrée Dish, Sheffield, 1903, probably Lee & Wigfall, rectangular with gadroon borders, removable handle, height 5 in., width 11 in., depth 8 in., weight 56.70 troy ozs.



$1200/1800 32. An English Victorian Silverplate Cruet Stand, late 19th c., hallmarked “D&S”, oval shaped seven bottle frame with a center handle, and reticulated sides, raised on four scroll supports, matching bottles, height 12 1/2 in., width 8 in., depth 7 in.

33. A Georgian Sterling Silver Fish Slice, London, 1810, Peter Bateman and William Bateman, mark entered 1805, crested downturned fiddle handle, bright cut engraved pierced scimitar blade, length 12 in., weight 3.75 troy ozs. $150/250


W 34. A Georgian Sterling Silver

Soup Ladle, London, 1828, Randall Chatterton, mark entered 1825, downturned Old English pattern with rounded terminal, drop on circular bowl, engraved crest on upper face, length 13 in., weight 5.95 troy ozs.


$150/250 33 W denotes the lot is illustrated at




37. A Set of Twelve French 1st Standard Silver Place/ Service Plates, shaped rims with foliage at the points, intertwined monogram “V” on rim, later inscription “Harry Turner” on reverse, diameter 10 in., weight 175.45 troy ozs. $4000/6000


38. A French 1st Standard Silver Hot Milk Pitcher, Paris, c. 1838, maker “AS” not identified, plain pyriform body with covered spout and hinged slightly domed cover, acorn finial, ebonized scroll handle with rosette supports, height 6 1/4 in., weight 8.35 troy ozs. $400/600


35. A Pair of Georgian Sheffield Plate Wine Coolers, 19th c., Matthew Boulton, Birmingham, each two-handled campagna form with foliate gadrooned rim, the openwork handles with acanthus terminals, stepped circular base fitted with detachable liner and rim, marked on bottom with double sunbursts, two inset silver shields on each cooler, height 10 in., width 9 1/2 in.


$1500/2500 W 36. A Pair of Regency Sheffield Plate Warming Stands,

plain circular forms with hinged ring handles, height 1 1/2 in., width 8 5/8 in. $200/400


39. A Chinese Export Canton Famille Rose Porcelain Punch Bowl, late 19th c., banded throughout with alternating figural and bird-and-flower shaped cartouches on a gilt ground strewn with butterflies and vining flowers and fruit, height 5 3/4 in., diameter 14 3/4 in. $1000/1500

40. A Large Prattware Pottery Lidded Potpourri Urn, late 19th c., matte-black ground, with polychrome Classical figures, pierced lid with flame finial, gilt handles, height 28 in., diameter 12 in. $700/1000


42. An Antique Irish Carved Mahogany Slab Table, molded marble top, plain frieze, carved and pierced skirt with masques clutching garlands, bellflower carved blocked square tapered legs ending in hairy paw feet, bearing retail label: “Dillon Antiques, 27 S. Anne St., Dublin,” height 30 in., width 53 in., depth 28 in. $5000/7500 Note: The inspiration for this table in proportion and ornament may lie in a 1769 design for a side table for the Quirinal Palace in Rome by Giovanni Battista Piranesi. This Irish cabinet maker departs from the strict Etruscan motifs on the Roman design, incorporating insular flora into the swags and “Green Man” masques on the skirt. Two other possible design influences for this table appear as plate IXXII “Slab Frames” in Ince and Mayhew’s 1762 Universal System of Household Furniture with related swag carved aprons, knee transitions and foot proportions related to those seen here. Reference: Piranesi table design is reproduced in Honour. Cabinet Makers and Furniture Designers. p. 143.

43. A William IV Carved Mahogany Sofa, c. 1840, elaborately carved crest of opposing eagles centered by anthemion cartouche, scrolled arms terminating in eagle heads, molded seat rail with patera corners, bulbous carved feet ending in casters, height 44 1/2 in., width 86 1/2 in., depth 25 in. $1000/2000


41. A George III Carved Mahogany Tallcase Clock, c. 1820, swan’s neck bonnet with brass bosses and finial, the paintdecorated dial signed “Geo: Parker/ Wisbeach”, flanked by fluted columns, the case with scalloped door and quarter columns, on bracket feet, height 86 in., width 19 1/2 in., depth 9 1/2 in. $2500/3500

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45. A Queen Anne Carved Walnut Wing Chair, 18th c., of typical upholstered form with finely scrolled armrests, cabriole front legs ending in pad feet, blocked and turned raking rear legs, distinctive shaped H stretcher. $2000/3000 Provenance: The Francis Mason Collection, 46 Morton Street, New York, NY. 46. A Regency Carved Rosewood Window Bench, 19th c., reeded scrolled arms, molded front rail with rosette blocked corners, on turned, reeded tapering legs, height 27 1/2 in., width 45 in., depth 14 in. $2500/3500



44. A Very Fine English Carved Rosewood Firescreen, mid19th c., pierced floral carved C-scroll surround, inner gilt frame enclosing a painted velvet panel of a sultan and maid, barley twist supports, acanthuscarved arched trestle legs, scroll toes, casters, height 56 in., width 32 in., depth 19 in.

$1200/1800 48. An American Classical Carved Mahogany Candlestand, early 19th c., shaped tilt top, carved pineapple shaft, acanthus carved legs ending in scroll feet, height 29 in., width 26 1/4 in., depth 18 in. $600/900





47. A Fine American Late Classical Mahogany Sleigh Bed, c. 1830, attributed to Duncan Phyfe, New York, scrolled head and foot boards, inverted bow rails, plinth feet, finely figured veneers throughout, height 43 in., length 78 in., interior width 60 in.






49. A Fine American or English Late Classical Rosewood and Rosewood-Grained Extension Dining Table, c. 1830, innovative rotating oval top with five leaves, ripple molded frieze, scrolled legs, s-scroll stretchers with turned feet, casters, height 29 in., width 56 1/2 in., depth 43 1/2 in. $3000/5000 Provenance: Succession of Harry T. Howard III. 50. A Set of Twelve George III-Style Carved Mahogany Dining Chairs, comprising 2 armchairs and 10 side chairs, shaped crest above pierced splat, trapezoidal slip seat on square tapered legs connected by H stretcher.

51. An American Chippendale Walnut Chest of Drawers, 18th c., Philadelphia, top with molded edge above four graduated drawers, molded base, ogee bracket feet, height 34 1/2 in., width 39 1/2 in., depth 21 in. $1500/2000 52. An American Federal Carved Mahogany Work Table, c. 1815, New York, School of Duncan Phyfe, the case with two drawers flanked by reeded pilasters, the top drawer opening to fitted interior with baize-lined writing surface, blocked and reeded tapering legs with side stretchers, brass cuff casters, height 30 1/8 in., width 19 1/4 in., depth 16 5/8 in. $1200/1800

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54. A Pair of American Tole and Gilt Lacquered Bronze Single-Light Argand Wall Sconces, 19th c., W. Carleton, Boston, reservoir of red ground with attached brass disc reflector, burner with applied manu­facturer’s label, now electrified, overall height 10 in. $600/900 Note: A similar form appears in 19th Century Elegant Lighting and also indicates that this form may have been used as a table lamp as well. Reference: Gowitt, Gerald 19th Century Elegant Lighting, 2002 p. 179.

55. A Good English Tôle Peinte and Stencil Decorated Tray, 19th c., the reticulated gallery with handles, reserve with scene of Dido and Aeneas, after the paining by PierreNarcisse Guerin (French, 17741833), bordered gilt strapwork and trophees, height 23 1/2 in. length 32 in., depth 1 1/4 in.





53. An American Patinated Bronze Three Piece Argand Garniture, early 19th c., retailed by Clark Coit and Cargill, New York, labeled, consisting of a dual light argand flanked by single light argands, each urn form font deeply reeded, antique etched and cut shades, center argand height 19 3/4 in.

$500/700 W 57. A French

Rococo-Style Gilt Bronze Encrier, 19th c., elaborately pierced stand with 2 inkwells, scrollwork handle, height 7 1/4 in., width 17 1/4 in., depth 8 5/8 in. 56

$2000/3000 58


58. A Pair of Empire-Style Marble and Gilt Bronze Cassolettes, fruit finial, ram’s head handles, intertwined branches, fluted and foliate socle, on plinth base, height 19 3/4 in., diameter 8 in. $1200/1800


56. An Empire Cut Glass and BronzeMounted Vase, early 19th c., serrated rim, spiral-lobed body, the handles ending in Classical busts, height 10 1/2 in., width 5 1/2 in., depth 4 1/2 in.



62. An Italian Marble Bust of Venus (Aphrodite), late 19th c., after the antique, inscribed “Chiurazzi / Napoli” on truncation of right arm, height 26 1/2 in. 60

59. A Chinese Famille Rose Porcelain Bowl with Louis XVIStyle Gilt Bronze Mounts, 19th c., the porcelain decorated to the interior and exterior with alternating figural and bird-and-flower cartouches reserved on a gilt ground strewn with fruit, butterflies and foliate scrolls, raised on a gilt bronze bracketed stem plinth with upright Classical scroll handles hung with laurel and berry rings, pierced and beaded rim, overall height 14 5/8 in., width 17 1/2 in. $1200/1800 60. A Pair of Fine Regence-Style Gilt Bronze Two-Light Sconces, 19th c., lyre-form backplate with palmette crest, grotesque masques, issuing scrolled candlearms, electrified, height 20 in., width 12 1/2 in., depth 9 in. $1200/1800 61. A Fine Antique Louis XVI-Style Gilt Bronze TwentyLight Chandelier, urn-form standard mounted with floral swags and chains, the circlet with lion’s head masques, scrolled candle arms decorated with fluting, acanthus and fishscale, height 47 in., diameter 36 in. $8000/12000

$1500/2000 Note: This modern bust replicates the so-called “Psyche of Capua”, which was excavated in 1726 from the Roman amphitheatre at Capua near Naples, and is now preserved in the Neapolitan Archaeological Museum (no. 5820). It was apparently misnamed, for most scholars now concur 62 that it actually represents Aphrodite (the Roman Venus), whose head is turned sharply downward to contemplate a mirror being held by a small figure of Eros (the Roman Cupid). The ancient original was evidently early Hellenistic, and was first attributed to Praxiteles (though it is now thought more likely to represent the style of Skopas); the version found at Capua is probably Roman, of the first century B.C. The bust (which in the original has been reattached to another fragment reaching to the figure’s hips) was found in a badly mutilated state, with damages requiring the sheared-off planes of her head. She apparently held her drapery with her left hand, to encircle her right hip: a hole above her left shoulder is still visible to attach its downward fold. The executing firm of Chiurazzi in Naples was authorized at its founding in 1870 to make replicas of the most celebrated antiquities in the Naples Museum; this bust may have been carved either by the founder, Gennaro, or by his sons Federico or Salvatore Chiurazzi. W denotes the lot is illustrated at



63. Gaston V. Leroux (French, 1854-1942), “A Desert Tribesman (Guerrier Arabe)”, 1880s-1890s, bronze, cast signature on base, height 38 in. $5000/7500 Note: Gaston Leroux was a member of the “second generation” of Orientalist artists. Following on the great cultural adventures of Napoleon’s Egyptian Campaign of 1798-1799, Lord Byron’s fatal sojourns of 1821-1824 in Greece, and especially Eugène Delacroix’s famous voyage to Morocco and Algiers in 1832; artists from all over Europe and America found recurring inspiration in exotic lands to the south and east of the Mediterranean. Like his well-known sculptural predecessor Charles Cordier (1827-1905), who was ethnographic sculptor to the French state from 1851-1866, and who used his officially-sponsored journeys to Algeria, Greece, and Egypt to produce a large series of polychrome busts of native peoples (and whose sculptor son Henri Cordier, 1853-1926, also an Orientalist, was an almost exact contemporary of Leroux’s), the younger generation refined and further popularized this widespread genre. Indeed the present personification is so striking a reflection of that of Sheikh Hussein, the central figure in the famous painting by


John Frederick Lewis (1805-1876) called A Frankish Encampment in the Desert of Mt. Sinai (1856; Yale Center for British Art) that it seems clear that Leroux might have known that masterwork, at least in a drawing or print (he was also a painter of considerable talent). But the great opera Aïda by Giuseppe Verdi (1813-1901) had its triumphant premieres in Cairo and Milan in 1871, and this broader cultural movement perhaps did more than anything else to encourage Leroux’s Orientalist inventions. He had been a pupil at the École des Beaux-Arts of the eminent François Jouffroy (1806-1882)— together with a stellar group of students including LouisErnest Barrias, Alexandre Falguière, Antonin Mercié, and Augustus Saint-Gaudens—and had won honorable mentions in the Salons of 1882 and 1883. He received a medal and a traveling fellowship in 1885, and further medals in 1889 and 1900, both at the Salons and at the Expositions Universelles; he was made a Chevalier of the Légion d’Honneur in 1908. References: Bénézit; Kenneth Bendiner, “Orientalism,” Grove Dictionary of Art, Jane Turner, ed., 34 vols, London, 1996, vol. 23, pp. 502-505; Janine DurandRevillon, “Cordier, Charles,” ibid., vol. 7, p. 841; Mary Anne Stevens, ed., The Orientalists: Delacroix to Matisse; the Allure of North Africa and the Near East, Washington and London, 1984, esp. p. 51, pl. 89, and 180-181, cat. no. 67.


64. Edwin Lord Weeks (American, 1849-1903), “At the Bazaar, India”, oil on canvas, signed lower left, with “W.E. Seebold/ New Orleans” label en verso of frame, 25 in. x 32 1/8 in., in a finely carved period giltwood frame. $80000/120000 Provenance: Sold in these rooms May 1987, as lot 432; Succession of Flores Howard Sussdorf, to Harry T. Howard III.

W denotes the lot is illustrated at


68. A Regency Carved Mahogany Wine Cooler, early 19th c., sarcophagus form with beveled rim, canted corners with applied reeding, paneled sides, paw feet, casters; retaining tin liner, height 17 in., width 34 1/2 in., depth 25 in. $1200/2000




69. A Continental Neoclassical Kingwood Parquetry Guéridon, early 19th c., probably Italian, segmented circular top, the frieze with candle slide and one drawer, square tapering legs, height 22 1/2 in., width 27 3/4 in., depth 20 1/4 in.


65. An Antique English Specimen Marble and Carved Walnut Games Table, 19th c., square marble inset top with molded edge, carved and turned vasiform support on arched scrolled legs, height 29 in., width 21 in., depth 21 in. $1000/1500 66. An English Carved, Burled and Inlaid Walnut Canterbury, mid-19th c., the frame with arched top rail, finials, pierced sides, the base with drawer, turned legs, casters, height 23 in., width 24 in., depth 16 in. $600/900

$400/600 67. A Fine Regency Brass-Bound Mahogany “Campaign” Desk, mid-19th c., labeled “Gregory Kane (68-69-70 Dame Street Dublin)”, the tooled leather inset top with galleried back, kneehole configuration of drawers, square tapered legs, brass ferrules, casters, retaining old hardware, height 34 1/2 in., width 48 in., depth 31 in. $1200/1800





70. A Pair of French Provincial Carved Fruitwood Fauteuils, late 18th c., in the Louis XV style, arched floral crest, caned back and seat, scrolled acanthine arms, molded cabriole legs joined by stretchers. $2000/3000 71. An Empire-Style Carved Mahogany and Gilded Pier Table, early 20th c., the marble top above a frieze drawer, garland and rosette carved scrolled supports, pilasters to the rear, blocked plinth base, height 37 in., width 48 in., depth 21 in. $800/1200 72. A Venetian Rococo Carved Giltwood Bench, late 18th c., shaped floral carved skirt, on C scroll cabriole legs ending in hoof feet, original needlepoint upholstery, height 19 1/2 in., width 40 in., depth 19 1/2 in. 71

$1500/2500 73. A Louis XVI PaintDecorated Aubusson Canapé, c. 1800, rectilinear back, scrolled arms with turned uprights, rosette-carved seat rail, fluted blocked and turned legs, retaining original crème and verte peinte and neoclassical motif upholstery, height 38 in., width 71 in., depth 20 in. $3000/5000


74. An Italian Carved, Polychromed and Giltwood Solomonic Column, 17th/18th c., vermilion ground decorated with grape clusters and vines, height 42 in. $700/1000


W denotes the lot is illustrated at


75. A Fine Pair of Antique Venetian Carved Giltwood and Polychrome Blackamoor Wall Brackets, early 19th c., scalloped shelf, the underside with foliate decoration and gilt border, raised on finely carved, opposing figures, draped in finery, their tunics with elaborate gilt embroidery, height 14 in., width 10 1/4 in., depth 6 1/2 in. $1200/1800 W 76. A Group of Six Italian Gilt Bronze Figurines of

Characters from the Commedia dell’Arte, late 19th/early 20th c., including “Pierrot”, “Tartaglia” and “Balanzone” among others, each on a variously colored rectangular beveled marble base, height of tallest 2 3/4 in. $500/700 75


77. A Pair of George III Ebonized Plaster and Bronze-Mounted Figural Candleholders, c. 1812, impressed “Publd., Aug. 30/ 1812 by/ R. Shout, London”, in the form of recumbent classically draped maidens, height 9 in., width 1 in., depth 4 1/4 in. $1000/1500 Note: The figures depicted here are influenced by Antonio Canova’s “Pauline Borghese as Venus”, 1808. Robert Shout (1764-1843) was working under his own name as early as 1800-1803 as indicated by a broadside catalogue. 78 78. A Rare American Gilt Lacquered Brass and Bronze Five-Light Sinumbra Chandelier, c. 1845 or prior, H.N. Hooper & Co., acanthus frame with four rings centered by another, each supporting original labeled font and later shade, suspended by four rod supports from acanthine corona, height 46 1/2 in., diameter 45 in., original condition.

80. A Pair of Exhibition Paris Porcelain PlatinumGround Vases, 1878, iron red marks for the Exposition Universelle Paris 1878 and Bender 959, in the Japonisme taste, each finely painted with swallows flying among wildflowers, gilt and cobalt decoration to rim, gilt bamboo loop handles, height 10 in.

$8000/12000 Note: While not appearing in the 1850s Hooper Catalog these sinumbra fonts can be dated prior to that particular catalog. Earlier fonts were typically made of tin and rarely pewter and only two fuel feeder tubes were present. Later, brass fonts were used and there could be three or more feeder tubes. Reference: Gowitt, Gerald 19th Century Elegant Lighting 2002 p. 19.


W 79. An American Classical Tôle, Patinated

Brass and Etched Glass Hall Lantern, c. 1840, in the gothic taste, hexagonal form suspended by chains, fitted with floral-decorated glass panels, height 20 in., diameter 11 in. $600/900





81. A Pair of Napoleon III Gilt Bronze FlamingoForm Girandoles, c. 1870, attributed to Maison Millet, the figures with a crown around their necks, perched on a rocaille base, encrusted with shells and flowers, height 15 in., width 6 in., depth 5 1/5 in. $2500/3500 Note: Maison Millet was established by Théodore Millet in 1853, and operated until 1902 from premises at 11 Rue Jacques-Coeur, Paris. Maison Millet was a highly regarded furniture firm that was described as producing ‘meuble et bronze d‘art, genre ancien et moderne.’ The company won several awards in the series of exhibitions in London and Paris, such as the gold medal in the 1889 Paris Exposition Universelle, and a Grand Prix in 1900. The firm specialized in the Louis XV and XVI styles, though they were acclaimed by their contemporaries for working in their own modern style. In March 1902, the firm was authorized by the Palais de Versailles to replicate Marie-Antoinette’s celebrated Grand cabinet à bijoux. An auction was held in 1906 clearing the remaining stock and the firm finally ceased trading in 1918. Maison Millet was an active client of ebeniste François Linke. 82 82. Émile Marin (French, 1876-1940), a pair of portraits of “Bedouin Men”, each oil on beveled wood panel, each signed and inscribed “Tanger” lower right, Christie’s labels en verso, each 10 3/4 in. x 5 3/4 in., framed alike. $1000/1500 W 83. C. Astorri (Italian, late 19th/early 20th c.),

“Bay of Naples with View of Mt. Vesuvius in the Background”, watercolor on paper, signed lower left, sight 4 1/2 in. x 7 1/2 in., matted and framed. $500/700

84. An Anglo-Indian/Ceylonese Macassar Ebony and Caned Bergère, 19th c., acanthine crest rail above caned back with Prince of Wales feather medallion, shaped arms with turned supports, seat rail with carved scroll decoration, bulbous ring carved and turned tapering legs. $2000/3000 Note: The Regency form of this bergère can be found in numerous examples from English cabinetmakers, and is loosely associated with a design for a drawing room chair by Thomas Sheraton (The Cabinet Maker’s and Upholsterer’s Drawing-Book, plate 32). The rendition of the Prince of Wales feather centering the back of this chair was likely inspired by an intaglio example that the carver observed in situ. The incorporation of this badge into the back of an Anglo-Indian chair is in all likelihood related to a Royal visit. Albert Edward, Prince of Wales, toured India in 1875 and the Duke of Connaught, representing the Prince, toured in 1903. Reference: A chair from Delhi now at the Victoria and Albert Museum also with Prince of Wales feather carving is illustrated in Jaffer. Furniture of British India and Ceylon, fig. 104.

W denotes the lot is illustrated at


85. An American Aesthetic Ebonized, Marble and Inlaid Bedroom Suite, c. 1880, Herter Bros., New York, marquetry inlaid panels, incised, reeded and Japonesque carved decoration throughout; comprising a bedstead, nightstand, tall chest (stamped Herter Bros.), and a princess dresser, all pulls original, bedstead height 62 in., length 80 1/2 in., width 60 in.; night stand height 30 in., width 18 in., depth 18 in.; chest height 41 3/4 in., width 28 in., depth 18 1/2 in.; princess dresser height 86 in., width 61 in., depth 17 3/4 in. $15000/25000 Note: The inscriptions found under the marble in this suite “N305 Herriman[sic]” and “N306 Herriman[sic],” are likely notations for furnishing the New York City home of financier and railroad executive E. H. Harriman (1848-1909) on the occasion of his marriage to Mary Williamson Averell (1851-1932) on August 10, 1879. The “princess” dresser in this suite is a form intended for use by ladies, so the suite would have furnished Mrs. Harriman’s bedroom. A circa 1880 cabinet stamped by Herter Brothers and inscribed “N908 Harriman Esq” is conserved by the Museum of Fine Arts Boston (acc. 2000.3). Furnishings from the Herter firm were popular among American railroad magnates, including Frederick Vanderbilt and LeGrand Lockwood; the Harrimans likely saw Herter commissions in the homes of their contemporaries. This suite exhibits the spare, linear Anglo-Japanese forms adopted by the Herter firm in the late 1870’s, a tour-de-force in aesthetic design. Other bedroom furniture related this suite includes a well-known bedroom suite made for William Carter now at the Philadelphia Museum of Art (acc. 1928-121-1a-f), an armoire at the Metropolitan Museum of Art (acc. 69.140), and a bedstead made for Arabella Worsham Huntington at the St. Louis Art Museum (acc. 183.1977.1). The inlay here consists of flowering branches arranged to mirror, or “grow” away from each other and is related to that on a c. 18781880 desk from the Mark Hopkins residence, now at the Virginia Museum of Fine Arts, Richmond (acc. 90.30). The brass pulls found on this suite are also seen on other noted Herter examples, including the armoire at the Met mentioned above, a desk for the Jay Gould residence also at the Met (acc. 69.146.3), and a desk from the James Goodwin residence, now at the Cleveland Museum of Art (acc. 87.53).

85 inscription

Reference: Boston cabinet:; Lindsey. Philadelphia Museum of Art: Handbook of the Collections, p. 288; Howe, et. al. Herter Brothers, Furniture and Interiors for a Gilded Age, pp. 194-195, fig 34; pp. 184-185, fig. 28; pp. 196-197, fig. 35; pp. 172-173, fig. 22.




86 88

86. An American Rococo Highly Carved Walnut Bibliothèque, c. 1860, Prudent Mallard, New Orleans, foliate crest, cabochon blocked ogee cornice, lion’s mask frieze, a pair of foliate carved glazed doors flanked by spiral turned stiles, the lower case having paneled foliate cabochon doors flanked by conforming stiles, blocked base, height 109 in., width 60 in., depth 19 1/2 in.


$7000/10000 Provenance: Dufour-Baldwin House, 1707 Esplanade Avenue, New Orleans, descended in the Baldwin family and acquired by the current owner and re-installed in 1707 Esplanade. Cyprien Dufour (1817-1871), A prominent New Orleans attorney, state senator, essayist and author of Esquises Locales, commissioned architects Henry Howard and Albert Diettel for 1707 Esplanade in 1859. With personal and professional reversals during Reconstruction, Monsieur Dufour sold the house to businessman Albert Baldwin (1834-1912). A furniture inventory accompanies the March 15, 1870 bill of sale of 1707 Esplanade from Dufour to Baldwin currently preserved in the Orleans Parish Notorial Archives. This bibliothèque is listed in the library, “as per P. Mallard’s bill, Feby 24, 1860.”


The Baldwin Family remained in the Esplanade house until 1912. Note: Best known as a purveyor of Rococo Revival bedroom furniture, Prudent Mallard did provide clients with monumental case pieces in the latest fashion, as evidenced by this example. The use of walnut, animal busts and strapwork crests on this cabinet look forward to Renaissance taste as presented by high style New York cabinetmakers such as Alexander Roux. The gravity of the Renaissance motif also agrees with the masculine atmosphere of M. Dufour’s library.

87. A Pair of American Aesthetic Carved Mahogany Armchairs, 19th c., New York, reeded stiles, sunflower-carved back, shaped padded arms, reeded rail, turned legs ending in anthropomorphic feet. Note: retaining original stuffing and covering.

88. Italian School, late 19th c., in the manner of Fra Angelico (Italian, 1395-1455), “Seven Angels in Chorus”, tempera with gilding on wood panel, 14 1/4 in. x 13 3/4 in., in an elaborate neorococo frame. $800/1200

89. French or Italian School, late 18th c., “Roman Charity: Pero Suckling Cimon at the Prison Window”, oil on canvas, unsigned, 34 1/4 in. x 34 in., in a period gilded wood fillet frame. $1000/1500

W denotes the lot is illustrated at



90. Attributed to Jean-Baptiste Oudry (French, 1686-1755), “Two Hunting Hounds with Game in a Landscape”, oil on canvas, unsigned, labels reading “41279/M” and “Paris” en verso, 39 in. x 53 in., in an elaborate antique giltwood frame. $80000/120000 Note: Every element in this superb painting bespeaks an autograph work by Oudry: the foreground dog is repeated in more than one of his pictures, its pose beside a watercourse is characteristic, the shapes of the birds, the game-bag and even of the gun repeat others of his works, and - perhaps above all - the very composition, with a distant left-hand view over an extensive riparian landscape before castle-crowned hills, betrays Oudry’s most typical style. Indeed the unusually quiet scene, and especially its resolution in the cool tones appropriate to the distant perspective, offer a suggestion about the possible date of this painting. In 1725 King Louis XV (who was becoming increasingly devoted to the hunt) commissioned from Oudry a series of overdoors for his Château at Compiègne depicting his favorite hunting hounds; this may well be one of those compressed, horizontal canvases. In 1733 the artist was commissioned to paint nine large scenes of The Royal Hunts of Louis XV for execution at the royal tapestry works of the Gobelins, of which the initial oil sketches are in museums in Paris and elsewhere; the last of them was delivered in 1746. These twenty years document the most plausible period for the execution of this splendid painting, whose quiet mood and pastel landscape tones seem especially suited to realization as a tapestry. Reference: H. N. Opperman, “Oudry,” Grove Dictionary of Art, Jane Turner, ed., 34 vols., vol. 23, pp. 666-669.


91. English School, late 18th/early 19th c., “The Country Manor”, oil on canvas laid down on pieced and painted curved wood panel, truncated signature lower right, 15 1/2 in. x 19 in. (along curvature), unframed. $500/750 92. A Group of Four Antique French Botanical Prints, “Le Tabac”, “La Bourroche”, “Le Ladanum”, and “L’Acante”, c. 1774, handcolored copperengravings by Regnault, from La Botanique Mise a La Portee de tout le Monde, sight 16 1/2 in. x 11 1/2 in., attractively matted and framed alike.



94. Sir John Robert Steell, R.S.A. (British/ Scottish, 18041891), “Bust of a Young Man in a Toga”, 1865, marble, signed and dated on spine of socle “J. STEELL. R.S.A./ Sculp. Edinb./ 1865”, height 28 in.


$3000/5000 93. After Jacques-Louis David (French, 1748-1825), “Napoleon Le Grand”, 19th c., engraved by Noel Bertrand, published by Potrelle, Paris, after the fulllength portrait by David, sight 28 1/2 in. x 21 1/4 in., attractively matted and framed. $600/900 92 (2 of 4)

Note: John Robert Steell was the son of the woodcarver John Steell of Aberdeen (1779-1849), and his wife of 1797; the family moved to Edinburgh in 1807, where the younger Steel served his apprenticeship under 94 his father and attended the classes of the Italophile Andrew Wilson (17801848) at the Academy for Drawing. In the mid 1820s he went to Rome, and the prototype of François DuQuesnoy’s statue of St. Andrew for St. Peter’s Basilica determined the design of his own colossal woodcarving of St. Andrew (1827) for an insurance office in Edinburgh. His first publicly accredited work was the bronze group of Alexander Taming Bucephalus (1832), which was followed by the heroic marble of Sir Walter Scott (in the Scott Memorial, 1838-46) and the bronze equestrian Duke of Wellington (1848-52); he was knighted in 1876 by Queen Victoria in recognition for his statue of Prince Albert (in the Edinburgh Albert Memorial, 1868-76). Together with other statues at Calcutta and New York, Steell is particularly distinguished by his sensitive bust portraits, of which one of the finest is that of the present sitter. Since Steell became a member of the Royal Scottish Academy in 1829 and exhibited in almost every subsequent year, further research in the lists of his sculptural submissions will possibly uncover this handsome sitter’s name. References: Fiona Pearson, Virtue and Vision: Sculpture and Scotland, 1540-1990, Edinburgh, 1991, p. 73-83; Rocco Lieuallen, A Sculptor for Scotland: the Life and Work of Sir John Robert Steell, Edinburgh, 2002.

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97. A French Renaissance Revival Gilt Bronze Mantel Clock, mid-19th c., urn finial, dial with porcelain numeral plaques, flanked by female terms with feather headdresses, the shaped base with bold, acanthus scrolled legs, centered with lion mask, height 21 3/4 in., width 17 in., depth 10 in.


$2000/3000 W 98. A

95. A Pair of Napoleon III Gilt and Patinated Bronze Figural Chenets, c. 1870, modeled as a lioncat poodle and a long-haired cat, after Peirre-Philippe Thomire (French, 1751-1843), sitting on tassled pillows, the blocked base mounted with rosettes, on tall fluted feet, height 14 1/2 in., width 11 1/2 in., depth 6 1/2 in.

Continental Neoclassical Yewwood, Gilded and Ebonized Petite Commode, 19th c., three drawers flanked by caryatid pilasters, ebonized base on paw feet, height 30 in., width 33 in., depth 18 1/2 in.



96. A Fine French Champlevé Enamel and Gilt Bronze Dressing Mirror, 19th c., the bronze marked “H.N” on reverse, having an oval beveled mirror plate within a floral-decorated enamel frame, surmounted by a cabochon crest with cascading floral tendrils, flanked by cherubs standing on scrolling arms on paw feet, height 26 1/2 in., width 15 1/2 in., depth 7 1/2 in.

99. An Italian Carved Walnut Canapé in the 18th Century Piedmontese Taste, arched back with outswept scrolled arms, loose cushion seat, cabriole legs ending in scrolled feet, height 40 in., width 110 1/2 in., depth 31 1/2 in.








100. An American Renaissance Porcelain and Gilt Bronze-Mounted Rosewood, Ebonized Cherry and Maple Cabinet, c. 1865, attributed to Alexander Roux, New York, the volute superstructure with inset porcelain plaque of Euterpe, flanked by gilt incised waves of wheat, above two doors with bronze framed porcelain plaques depicting courting couples, interspersed by wheat and morning glory inlaid columns; the incurvate sides with floral inlaid panels, plinth base on shaped and blocked feet; gilt incised decoration, height 52 1/2 in., width 72 1/2 in., depth 18 1/4 in. $12000/16000 Note: This cabinet form exemplifies the apex of Renaissance Revival style as presented by French emigré cabinet makers in New York City of the 1870s. The large, architecturally inspired case does indeed have “Renaissance” proportions, but is embellished with ornament in the Louis XVI style. Cabinets of this ambition were intended for one of the most public rooms in a great house, displaying the fine taste and prosperity of its owner. This cabinet is nearly identical to a cabinet labeled by Alexander Roux conserved by the Metropolitan Museum of Art (acc. 68.100.1). Reference: Davidson and Sillinger. The American Wing, The Metropolitan Museum of Art. pp. 176-177, fig. 272.

101. A Beaux Arts Verdigris Bronze and Onyx Gueridon in the Neoclassical Taste, 19th c., galleried onyx top, acanthus panel frieze, Greek key embossed square tapered splayed legs connected by arched stretchers centered by an urn, height 32 in., width 10 in., depth 10 in. $1500/2500

101 W denotes the lot is illustrated at


102. A Regency Mahogany Chiffonier, c. 1815, reticulated brass gallery, medial shelf between scrolled brass supports; case with a single drawer over a pair of doors, tapered and reeded legs, height 49 1/4 in., width 34 5/8 in., depth 19 3/8 in. $1200/1800 W 103. Marie Laurencin (French,

1885-1956), two etchings; “Nude” and “Ex Libris”, each pencil-signed, Christie’s labels en verso, each sight 6 in. x 4 1/2 in., matted and framed alike. $600/900 Note: This bookplate was created during a visit to Laurencin’s studio by the American bibliophile Edward Wasserman. Seeing the artist at work on a small engraving, he asked if she would be willing to add his name; she agreed. This is the only known bookplate Laurencin produced.



104. Marc Chagall (French, 1887-1985), “Nice - Soleil Fleurs”, 1962, color lithograph, printed by Mourlot, Paris, signed in plate, sight 36 in. x 22 1/2 in., sheet 37 1/2 in. x 24 1/4 in., framed. $800/1200 W 105. Pablo Picasso

(Spanish, 1881-1973), “Exposition Poteries Fleurs”, 1948, color lithograph, exhibition poster, unsigned, sheet size 26 in. x 20 in., unframed.


$800/1200 110 W 106. Pablo Picasso (Spanish, 1881-1973),

“Nude”, 1956, lithograph, signed and dated in reverse in plate, 15 in. x 12 1/8 in., framed.

109. A Louis XVI-Style Gilt Bronze and Crystal Four-Light Chandelier, late 19th/early 20th c., the corona with feathers and drapery, the circlet mounted with figural terms, interior fitted with accent lights, height 33 in., diameter 24 in.

$600/900 W 107. A Pair of Regency-Style Mahogany

Tub Chairs, 20th c., in the style of Thomas Hope, rounded back and arms, columnar uprights with boss terminals, molded seat rail, turned legs, brass ferrules, casters.


$700/1000 108. An Antique English Papier-Mâché Tray, 19th c., red ground, gilt floral and butterfly motif, on later conforming bamboo turned stand with cross stretchers, height 32 1/2 in., width 23 1/2 in., height 19 3/4 in. $800/1200



110. A Pair of French Gilt and Patinated Bronze Five-Light Candelabra, 19th c., each surmounted by a stork, the candle arms with gilt pendants, fluted standard ending on a bust of a classical maiden, with floral collar, the incurvate triangular base with lion-head terms and paw feet, black marble base, height 40 in., diameter 12 in. $2500/3500




111. Jane Peterson (American, 1876-1965), “A Venetian Scene: San Giorgio Maggiore”, oil on board, signed lower right, 17 in. x 17 in., in a giltwood Arts and Crafts-style frame. $10000/15000 112. Jane Peterson (American, 1876-1965), “Sailboat, Gloucester Harbor”, oil on canvas, signed lower right, “D. Wigmore Fine Art, Inc., New York, NY” label en verso, 18 1/4 in. x 18 1/4 in., in a giltwood Arts and Crafts-style frame. $8000/12000

113. Robert Henri (American, 18651929), “Sailboats, Monhegan”, 1904, oil on board, signed lower left, “D. Wigmore Fine Art, Inc., New York, NY” label en verso, 8 1/8 in. x 10 1/4 in., framed. $8000/12000


114. Robert Henri (American, 1865-1929), “Paris Rooftops from My Studio, Rue Mazarine”, 1889, oil on mahogany panel, unsigned, inscribed “From 172 Rue Mazarine” and dated en verso, “D. Wigmore Fine Art, Inc., New York, NY” label en verso, 8 1/2 in. x 6 1/4 in., in a gilt Arts and Crafts-style frame. $10000/15000

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115. Harry B. Lachman (American, 1886-1975), “Rooftops in the Snow”, 1919, oil on panel, signed and dated lower left, inscribed en verso, 16 1/8 in. x 12 5/8 in., attractively framed.


117. A Newcomb College Art Pottery High Glaze Jardinière, 1907, decorated by Marie de Hoa LeBlanc with a relief carved pine needle and cone motif, the base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, “W” for white clay, and reg. no. BS64, height 8 1/2 in., diameter 10 in.

$1500/2500 116. Harry B. Lachman (American, 1886-1975), “The Port at Douamenez, Brittany (Bateaux de Peche)”, 1912, oil on panel, signed lower right, titled and with exhibition labels en verso, 13 7/8 in. x 10 1/4 in., attractively framed.



$8000/12000 119. A Newcomb College Art Pottery High Glaze Jardinière 1908, decorated by Florence M. Jardet with a motif of ornamental pear tree blossoms, the base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, “Q” for buff clay body, and reg. no. CI29, height 5 in., diameter 6 3/8 in.

$1000/1500 Exhibition: Art Institute of Chicago 26th Annual Exhibition, 1913 as “Fishing Boats” (catalogue #207), label en verso.




118. A Newcomb College Art Pottery Matte Glaze Vase, 1922, decorated by Sadie Irvine with a relief-carved Moon and Moss landscape design, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. MI43 and shape no. 165, height 12 3/4 in.




120. A Newcomb College Art Pottery Semi-Matte Glaze Vase, 1910 decorated by Anna Frances Simpson in a relief-carved motif of Louisiana irises, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, and reg. no. DR48, height 11 3/4 in. $4000/6000 121. A Newcomb College Art Pottery Semi-Matte Glaze Vase, 1910, decorated by Sadie Irvine with a grapevine and clusters in low relief, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, and reg. no. DV91, height 5 5/8 in. $1000/1500 122. A Newcomb College Art Pottery Matte Glaze Vase, 1930, decorated by Anna Frances Simpson with a well modeled landscape of moss-laden live oak, the base marked with Newcomb cipher, decorator’s mark, Jonathan Hunt’s potter’s mark, reg. no. SN32, and shape no. 157, height 9 1/2 in.



123. A Newcomb College Art Pottery High Glaze Tyg, 1908, decorated by Leona Nicholson with an incised band of blossoms and Chi Omega roundels, base marked with Newcomb College oak tree symbol with “RHO” and “1900” on either side, Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark and reg. no. CD10, height 5 3/8 in.

124. A Newcomb College Art Pottery Matte Glaze Candlestick, 1922, decorated by Anna Frances Simpson with a relief-carved motif of freesia, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. MO12 and shape no. 232, height 7 3/8 in. $1200/1800


$7000/10000 W denotes the lot is illustrated at


125. A Newcomb College Art Pottery Matte Glaze Vase, 1927, decorated by Sadie Irvine with a relief-carved Moon and Moss landscape, the base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, reg. no. QL89, and shape no. 49, height 6 3/8 in., diameter 8 1/2 in. $6000/8000


126. A Newcomb College Art Pottery Matte Glaze Vase, 1932, decorated by Sadie Irvine with a reliefcarved Moon and Moss landscape, base marked with Newcomb cipher, decorator’s mark, Jonathan Hunt’s potter’s mark, reg. no. TW44, and shape no. 500, height 6 in.




127. A Pair of Newcomb College Art Pottery Matte Glaze Vases, 1930s, decorated by Sadie Irvine with a relief-carved wild rice design, base inscribed “Educational Exhib’n” and marked with Newcomb cipher and decorator’s mark, height 3 3/4 in. $1200/1800



Note: In 1931, Ellsworth Woodward retired as director of the Newcomb Art School and was replaced by Lota Lee Troy. Wanting to maintain the outside contacts Woodward nurtured during his tenure, and to promote the Pottery enterprise during the lean years of the Great Depression, Miss Troy sent a number of Newcomb pieces to colleges, museums and civic organizations around the country. Correspondence found in the Tulane University archives from the 1933-34 academic years indicates that Miss Troy sent nine educational exhibitions of Newcomb work—one of which went to the University of Alabama and one to a high school in Minnesota.


128. A Newcomb College Art Pottery Semi-Matte Glaze Candlestick, 1912, decorated by Sadie Irvine with a relief-carved cotton plant motif, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, and reg. no. FC89, height 6 1/4 in. $700/1000 129. A Newcomb College Art Pottery Semi-Matte Glaze Candlestick, 1929, decorated by Anna Frances Simpson with a relief-carved jasmine motif, base marked with Newcomb cipher, decorator’s mark, reg. no. RU85 and shape no. 329, height 3 1/2 in. $600/800



W 130. A Newcomb College Art Pottery

Vase, c. 1900-10, decorated in an experimental aubergine glaze, base marked with Newcomb cipher, Joseph Meyer’s potter’s mark, and inscribed 182, height 6 1/8 in. $300/500 W 131. A Newcomb College Art Pottery

Vase, c. 1900-10, decorated in a deep blue glaze, base marked with Newcomb cipher, height 3 3/8 in. $200/300 W 132. A Newcomb College Art Pottery

Experimental Glaze Vase, c. 1900-10, decorated by Joseph Meyer, dark green dripped over cobalt blue glaze, base marked with Newcomb cipher and Joseph Meyer’s potter’s mark, height 5 1/8 in. $400/600 137 133. A Walrath Art Pottery Semi-Matte Glaze Handled Vase, early 20th c., stylized flowers forming the handles and lip, inscribed “Walrath 1919” to base, height 5 3/8 in.

W 135. A Rookwood Scenic Vellum Vase, 1912, decorated by Katherine van

Horne, with a landscape at dusk, height 6 1/2 in.



W 134. A Shearwater Art Pottery Fish

136. Robert Lewis Reid (American, 1862-1929), “Mountain View of the Broadmoor Hotel, Colorado Springs”, oil on panel, signed lower right in both oil and pencil, 11 3/4 in. x 15 7/8 in., in a carved giltwood frame.

Mug, c. 1975, modeled by Walter Anderson and decorated in a mottled seafoam green and mottled brown glaze, base with impressed quartersize Shearwater stamp, height 4 1/4 in., width 5 1/4 in. $600/800

$8000/12000 Provenance: Succession of Harry T. Howard, III. 137. John Marin (American, 1870-1953), “Mills and Bridge, Meaux”, 1907, watercolor on paper, signed and dated lower right, “Philadelphia Museum of Art” label en verso, 7 1/2 in. x 9 7/8 in., attractively matted and framed. $10000/15000 W denotes the lot is illustrated at



138. Maurice Prendergast (American, 1858-1924), “Blue Landscape”, c. 1910-1914, watercolor and pencil on paper, signed lower right, “D. Wigmore Fine Art, Inc., New York, NY”, “University of Maryland Art Gallery”, “Sarah Lawrence College Art Gallery”, and “Davis & Long Company, New York, NY” labels en verso, sight 10 1/2 in. x 15 in., in a giltwood Arts and Crafts-style frame. $20000/30000 139. George Bauer Dunbar (American/ Louisiana, b. 1927), “Minimal Series #2”, red and black clay with gold leaf on board, unsigned, “Gallerie Simonne Stern” label en verso, 36 in. x 43 in., framed. $10000/15000





140. George Bauer Dunbar (American/Louisiana, b. 1927), “Copreus”, 2001, tan and black clay with palladium leaf, signed lower right, titled and dated on “Galerie Simonne Stern” label en verso, 48 in. x 55 in., framed. $12000/18000 141. Marie Atkinson Hull (American/ Mississippi, 1890-1980), “Macaws: A Three-Panel Folding Screen”, c. 1925, oil on wood, signed upper right of right panel, 66 1/4 in. x 17 in. (individual panels), 69 in. x 60 in. (overall screen). $20000/30000 Note: In the mid 1920s, Marie Hull and her husband Emmett spent a year in St. Petersburg, Florida, where Emmett opened an architectural office. Marie painted the flora and fauna of the then-undeveloped landscape. In this monumental three-paneled screen of colorful parrots, she beautifully captures the multi-hued feathers and distinctive traits of the macaw parrots as they perch on branches and interact with one another. Reference: Malcolm M. Norwood, Virginia Elias and William S. Haynie, The Art of Marie Hull, University Press of Mississippi, Jackson, 1975.

142. Clarence Millet, A.N.A. (American/New Orleans, 1897-1959), “St. Louis Cathedral from Chartres Street”, oil on canvas board, signed lower left, 10 in. x 8 in., attractively framed. $4000/6000 Provenance: Descended in the family of Jeanne Cloar, the artist’s French Quarter landlady. 141 W denotes the lot is illustrated at


144. Luis Graner y Arrufi (Spanish/American, 1863-1929, active New Orleans c. 1914-22), “Mistick Krewe of Comus Parade at Night”, 1917, oil on canvas, signed, inscribed and dated “N.O. February 20, 1917” lower left, 23 3/4 in. x 29 3/4 in., attractively framed. $8000/12000 Note: A native of Barcelona, Spain, Luis Graner y Arrufi studied art in his hometown and in Paris where he exhibited at the Salon. He came to America in 1910 and spent the winters in New Orleans from 1914 to 1922. Already internationally known and exhibited, Graner earned acclaim for his landscapes of the Louisiana countryside. Graner excelled at depicting nocturnal scenes, a fine example of which is offered here. This exceedingly rare painting of a New Orleans French Quarter Carnival parade depicts the Mistick Krewe of Comus on Mardi Gras night, February 20, 1917. Organized in 1856, Comus is the oldest Carnival krewe currently in existence in New Orleans. The 1917 theme of the Mistick Krewe of Comus’ tableau and parade was “Romantic Legends”. The Queen of Comus was Elise Mason Smith and the maids were Marcelle Grima, Lise Perrilliat, Veva Penick and Mildred Bobb. As remains custom today, the identity of Comus was secret. Comprising twenty floats, float 15 was “The Dragon of Wantley,” which appears to be depicted on the right side of this composition, aglow with the light cast from the flambeaux. Graner creates a dramatic, impressionistic scene: costumed and masked revelers dance in the foreground while throngs watch the majestic parade. Early paintings of Carnival parades are practically unknown; a specifically dated work which allows identification of its krewe and tableau is exceptionally rare and likely unique among Louisiana paintings.


143. Alice Ravenel Huger Smith (American/South Carolina, 18761958), “Sunrise”, watercolor on artist board, signed lower right, 21 5/8 in. x 15 3/8 in., attractively framed.

As Henri Schindler poetically writes in his book Mardi Gras: New Orleans (Flammarion, 1997): The Mistick Krewe introduced spectacle to the streets of New Orleans, and Carnival was forever changed. Comus would not only reappear every Mardi Gras night, he would do so amid the flames and smoking flares of moving theater, and each year he would present new visions to astonish a population long nourished on masquerades, parades, and stagecraft. With the advent of the Mistick Krewe of Comus, the festivities of Mardi Gras were ended with public ceremony of pomp and bombast, with mystery, artistry and splendor. (p. 35.)

$8000/12000 Provenance: Succession of Harry T. Howard III. The artist was a cousin of Mr. Howard’s mother, Elise Mason Smith Howard (1896-1990). Note: A founding member of the Charleston Etchers Club, Smith studied the Japanese woodblock collection of a cousin and built on those observations to produce a number of prints before giving up the medium to pursue watercolor fulltime. It was in this medium that Smith produced her best work, combining her study of Japanese art with her observations of the Lowcountry to create flowing tonalist watercolors, an excellent example of which is “Sunrise”, probably painted on a barrier island near her home. Born in 1876 to an established Charleston family, Alice Ravenel Huger Smith became an author, preservationist, and most importantly, an artist. Smith wrote and illustrated books that brought to life the culture of the Carolina Lowcountry including The Pringle House on King Street (1914), The Dwelling Houses of Charleston (1917), and A Carolina Rice Plantation of the Fifties (1936). 144


145. Alexander John Drysdale (American/ New Orleans, 18701934), “Cypress Trees on a Bayou”, 1915, oil on academy board, signed and dated lower right, pencil inscribed “Mrs. B. Edwards, Bay St. Louis, Miss”,  with “F.W. Devoe” label en verso, 24 in. x 18 in., attractively framed. $3500/4500 Provenance: Descended in a New Orleans family. 146. An American Aesthetic Pierced Brass Table, c. 1885, Meriden, CT, top with canted edge and inset Longwy tile, supports with trefoil brackets connected by a Longwy tile stretcher above foliate pierced frieze and outswept legs, underside of top tier stamped “PAT. APL’D FOR”, height 31 in., width 13 1/2 in.



$1000/1500 Note: The incorporation of Longwy faience tiles and aesthetic motifs on this stand can be attributed to a number of Meriden, Connecticut makers, but is most commonly found in examples from Bradley and Hubbard Manufacturing Company. Reference: D’Ambrosio. A Brass Menagerie, Metalwork of the Aesthetic Movement, p, 20, pl. 12.

147. A Very Fine American Neo-Grec Walnut and Bronze-Mounted Pedestal, late 19th c., dished top, incised bronze mounted supports, stretcher centered by a turned finial, bronze paw feet, disc base, paper label affixed to base: “Army & Navy Depository limited,” height 37 1/2 in., diameter 13 in. $1000/1500


148. An American Classical Carved Mahogany and GiltStenciled Games Table, early 19th c., New York, rectangular foldover top, stenciled frieze, columnar pillar with circular plinth, arched legs ending in carved paw feet, casters, height 30 1/2 in., width 35 3/4 in., depth 19 in. $1200/1800 Note: The simplified geometric forms that comprise the elements of this table provide excellent formats for finely figured veneers and detailed gilt stenciled decoration. Virtuoso carving is reserved for the refined paw feet. Similar design can be found on a c. 1825-35 New York dining table at the Munson Williams Proctor Institute (acc. 60.199).


Reference: D’Ambrosio. Masterpieces of American Furniture from the Munson Williams Poctor Institute. pp. 48-49, pl. 11.

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152. A Pair of Napoleon III Patinated and Gilt Bronze Figural Three-Light Candelabra, mid-19th c., the opposing putti holding lilybranch candle arms, on fluted rouge marble plinths with foliate border, now fitted for electricity, height 37 in., width 17 in., depth 8 in. $4000/6000


149. An American Classical Revival Carved Mahogany Window Bench, late 19th c., New York, rectangular slip seat frame flanked by scrolled ends with lyre splats, reeded sabre legs, height 33 in., width 44 1/2 in., depth 15 1/2 in. $800/1200 Provenance: Estate of Jean Lauer, East Moriches, NY. 150. An American Federal Inlaid Mahogany Card Table, early 19th c., Boston, the serpentine foldover top with lunette inlaid edge above a crossbanded and figured frieze, raised on tapering turned reeded legs, height 29 in., width 36 7/8 in., depth 17 3/4 in.


$2500/3500 151. An American Classical Carved Giltwood Pier Mirror, early 19thc., with deep cove-molded frame, the diapered gilt panel centering a hand-painted oval reserve depicting gentleman hunters in scenic landscape with dogs, height 75 1/2 in., width 37 in. $3000/5000


153. A French GiltStenciled Tôle Sinumbra Lamp, 19th c., columnar shaft, plinth base; associated cut and etched glass shade, height 26 1/2 in., diameter 10 in. $800/1200


154. The Waring Family American Gothic Carved Rosewood Center Table, c. 1845, after a design by Alexander Jackson Davis (18031892), New York, original hexagonal black marble top, conforming skirt with ripple molding and acorn pendants, cluster supports with foliate collars, shaped plinth with trefoil terminals, casters, height 30 3/4 in., width 40 1/2 in., depth 35 3/4 in. $25000/35000 Provenance: Descended in the Waring Family, Mobile, Alabama and New Orleans, Louisiana. This table is documented in the Historic American Buildings Survey photograph of the Waring home, 351 Government Street, by E.W. Russell dated March 14, 1935 (photo ALA-19). Family history records this table in place soon after the 1846 completion of the house. The table was moved to New Orleans in the mid-20th c. by Waring descendants. Note: The design source for this table appears in Alexander Jackson Downing’s illustration “Drawing Room at Kenwood, Gothic Style” (figure 179) in his influential 1850 The Architecture of Country Houses, and provides documentation for Alexander Jackson Davis’ (1803-1892) architectural commission for Joel Rathbone’s 1842 Hudson River Valley villa, Kenwood. Of note is the similarity of the lot offered here to a table in the Kenwood illustration, which is likely of Davis’ design.


155. A Rare French West Indies Carved Mahogany Armoire, c. 1825-1850, probably Trinidad, in the Empire taste, flared cornice above outset frieze, paneled doors flanked by turned and ropetwist columnar supports, on drum plinth feet, height 81 3/4 in., width 61 1/2 in., depth 28 1/4 in.

Eight tables related to this lot include: a rosewood table bearing a “Mr. J. Rathbone/Kenwood” label at the High Museum, Atlanta, (acc.1983.190) that was also exhibited at the Museum of Fine Arts, Houston, in 1976; a table from the Davis-designed villa “Belmead”, built for Philip St. George Cocke in Powhatan County, Virginia, in 1845 and now at Andalusia; a table at the Museum of Fine Arts, Boston, (acc. 1981.402); a table in the University of Utah collection; a table in the Terian collection illustrated in Feld. In Pointed Style, p. 82-83, fig. 38; a table illustrated in Fitzgerald. Three Centuries of American Furniture, p. 211, fig. 4; a table sold at Christie’s, New York, as lot 530, January 16, 1998; and a table from a New Orleans collection sold in these rooms as lot 91, November 20, 2010.

$5000/7500 Note: The turned and ropetwist columnar supports on the present lot relate closely to those on a c. 1840 Danish West Indies armoire of St. Croix origin, illustrated in Connors, Michael. “Danish West Indian Furniture.” The Magazine Antiques. September 1999: p. 340, pl. VI.

The table offered here is the only example known to furnish a home in the Gulf South. This discovery is not only a testament to the transmission of Gothic taste throughout the United States in the 1840s, but also indicates Mobile’s preeminence among contemporary taste makers. The unity of Gothic design and variation of detail among the examples listed above demonstrate the ambitions of the cabinetmaker and the caliber of his clientele. Reference: The Historic American Buildings Survey photograph of 351 Government Street appears on the Library of Congress website: http://; see also: Davies. “Gothic Revival Furniture of Alexander J. Davis,” Magazine Antiques (May 1977) p. 1021. Feld. In Pointed Style, p. 82-83, fig. 38; Howe and Warren. The Gothic Revival Style in America 1830-1870, p. 41 fig. 73.


A c. 1825-1850 armoire of Trinidad/Martinique-French Empire style with similar freestanding columns on large circular plinths is illustrated in Sturm, Philip. West Indian Furniture of the Lesser Antilles; 1740-1940. p. 163.

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Washington City in February 1843, his daughter, Anne Ruffin Dawson, married Robert Charles Wickliffe, son of the Governor of Kentucky, Charles A. Wickliffe, who was at that time serving in President John Tyler’s cabinet as Postmaster General; through the latter’s recommendation Dawson was presidentially appointed as Postmaster of New Orleans, an office he held from April to December of 1843. He died at home near St. Francisville in June 1845, and is buried in the cemetery at Grace Church in that town.


156. Attributed to C. R. Parker (American/Louisiana, 1799-1849), “Portrait of Gen. the Hon. John Bennett Dawson of Wyoming Plantation, West Feliciana Parish”, c. 1844/45, oil on canvas, unsigned, identified in ink in a mid-19th c. hand en verso of canvas “Genl. J. Bennett Dawson / of West Feliciana Parish / Louisiana”, 30 in. x 24 3/4 in., in the original molded gilt frame.

This extraordinary portrait is exceptional in several ways. The most striking superficial distinction is in the costume: in the whole pantheon of Louisiana portraits only one other sitter wears a fully embroidered jacket and waistcoat, and that other picture was painted in Spain. The prominently displayed watch fob and chain is precisely paralleled in an example surviving from Washington, DC, and almost certainly originated there (suggesting that this portrait postdates Dawson’s congressional service). That conclusion is borne out by the delineated character of the face: Dawson is memorably represented with lined and careworn features, with a frown of concentration, and with deep depressions under his eyes; since his hair is still dark (he died at only 47), his depicted age is clearly consonant with the very last stage of his life. The attribution of this superlative picture to C. R. Parker—an American portraitist whose paintings of Jefferson, Franklin, Washington, and Lafayette were unveiled in the Louisiana state legislature in 1826, and who was active at least from that year to 1848 in Natchez, New Orleans and the river parishes—hinges on the fact that his Natchez portraits are similarly exceptional in the deep sense of character shown in his faces. It is also especially significant that the contemporaneous portraits of two of Dawson’s first cousins, with their wives (Bennett Hilliard and Emily Joor Barrow of Highland Plantation, as well as William Ruffin and Olivia Ruffin Barrow II of Greenwood Plantation, of whom the first documented a sitting on 4 May 1841) were definitely or probably painted by Parker. That artist also traveled to England in 1828, and may have absorbed there the imaginative and emotive style that so strikingly characterizes this image of Dawson as “a firm and pure public man.” References: W. B. Floyd, The Barrow Family of Old Louisiana, Lexington, KY, 1963, pp. 55-57; Elrie Robinson, Early Feliciana Politics, St. Francisville, 1936, p. 60; Mrs. T. N. C. Bruns, ed., Louisiana Portraits, New Orleans, 1975, pp.26-27; V. J. Speakes, ed., Mississippi Portraiture, [Jackson], 1987, pp. 47, 111, 166; P. B. Schmidt, ed., Encyclopedia of New Orleans Artists, 1718-1918, Historic New Orleans Collection, 1987, p. 291.

$10000/15000 Provenance: By descent to the great-granddaughter of the sitter, Mrs. William C. P. Muir, Shelbyville, KY, 1933; William Barrow Floyd, Lexington, KY, 1962; by further Barrow family descent to the present owner. Published: Frick Art Reference Library, New York, 1933 and 1957; W. B. Floyd, The Barrow Family of Old Louisiana, Lexington, KY, 1963, pl. 99. Note: John Bennett Dawson was born near Nashville, TN on 17 March 1798 and died near St. Francisville, LA on 26 June 1845. He attended Centre College at Danville, KY, whereupon by 1816 he joined his mother and his Barrow relations in Louisiana (his father had died c. 1813 in Natchitoches Parish); in 1817 he married Margaret Johnson of Troy Plantation in Feliciana Parish [only divided in 1824 into East and West]. In 1826 he was elected to the Louisiana State Legislature, and also became a Major-General of the State Militia; in the later 1820s he became a Parish Judge. With a partner in 1830 he purchased two newspapers, the Florida Gazette and the Feliciana Advertiser (the Louisiana Journal); in 1834 during a failed bid for the Governorship of the state he sold one of his cousins his half-interest in these papers, plus his own St. Francisville Phoenix. The editorial policy of all his papers had been “to support the political doctrines of the Jeffersonian School,” and he ran as the Democratic candidate for governor against the Whig candidate E. D. White; Dawson’s unsuccessful platform included advocacy of low tariffs, and enmity to the United States Bank. Six years later, however, he was elected as the Democratic delegate from Louisiana’s 2nd District to the 27th session of the United States Congress (serving from 1841 to 1843), and in 1842 he was also elected from the 3rd District to the 28th session of the national House of Representatives (serving from 1843 to March of 1845). While he was in


157 157. Alexander John Drysdale (American/New Orleans, 18701934), “Afternoon, Louisiana Swamp”, 1915, oil on academy board, signed and dated lower left, “F.W. Devoe & Co.” label en verso, 17 3/4 in. x 24 1/4 in., attractively framed. $3000/5000 Provenance: Descended in a New Orleans family.


158. Attributed to Marshall Joseph Smith, Jr. (American/New Orleans, 18541923), “Manchac Cabin”, oil on canvas, unsigned, “W.E. Seebold” canvas stamp en verso, 12 in. x 20 in., in a period frame. $75000/125000 Provenance: Private estate collection, Birmingham, Alabama. Descended in the family of William Henry Buck and his wife Marie Fortin Buck to their daughter Wilhemina Buck. Note: Of Louisiana’s 19th c. landscape painters, the undoubted trinity is Richard Clague, Jr. and his two most talented students, William H. Buck and Marshall J. Smith, Jr. The fact that the work offered here was discovered in the Buck family collection points to the intimacy of the 19th c. landscape painting world in New Orleans, much of which centered around William Seebold’s gallery on Canal Street and his Garden District mansion. A strikingly similar signed Smith work, dated 1874, can be found in the Roger Ogden Collection of Southern Art. Richard Clague, Jr. had died the year before, in 1873, and Smith’s father bought for his son the master’s sketchbooks which would provide the basis for many of Smith’s works painted between 1873 and 1876. In these books were various drawings of cabins at Manchac, which is located across Lake Pontchartrain from New Orleans. As evident in the work offered here, Smith’s recognizable, crisp style has a more luminous and brighter palette than that of Clague. Smith was never prolific as an artist and, although he lived until 1923, his output was limited. When he moved to Covington in 1906, his productivity declined further, although he did continue to design floats and tableaux for the Krewe of Proteus, of which he was a founding member.

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160. A Fine American Carved Cherrywood Campeche Rocking Chair, early 19th c., scalloped crest flanked by turned finials, S-curve arms with shaped supports, curule base connected by plain stretchers, leather sling back with nailhead trim. $1500/2500 159

159. Louisiana School, 19th c., “Portrait of a Young Creole Lady”, oil on canvas, unsigned, 9 1/2 in. x 12 in., in a period frame. $5000/7000


Note: Similarities exist between this portrait, lot 159, and François Fleischbein’s (German/Louisiana, 1804-1868) “The Children of Louis A. de Barjac.” In the “Barjac” painting, a large family portrait, the wide-eyed expressions of all three children and the arrangement of the hand of the eldest daughter relate to the features of the young Creole woman depicted here. Interestingly, the hands in Fleischbein’s “Portrait of Betsy,” of 1837, and “Portrait of a Creole Lady” from the 1830s, are also comparable in placement and positioning to the “Young Creole Lady” offered here. The treatment of the brushwork on the cloth, skin, and jewelry is similarly rendered in all four examined works, which range in size from this small portrait to the life-size standing “Portrait of a Creole Lady”. Fleischbein is known to have worked in varied sizes and poses, including the small portrait of his wife now at the Dallas Museum of Art, which is only 6 in. x 7 1/4 in. Beautiful, young Creole women often formed the subject matter of early Louisiana portraiture. The stylish clothing and hairstyles documented in such paintings give us a greater understanding of the fashion of the time period. The style of the bodice this young woman wears reflects 1830s trends in fashion. The hairstyle in this painting, with the distinct double-part, could be a variation of the “Apollo Knot” hairstyle of the 1830s. The double-part may also be seen in several other Louisiana portraits, such as “Portrait of Mrs. James Urquhart (Amanda Villeré),” of 1835, attributed to Jacques Amans (1801-1888), and “The Children of Louis A. de Barjac,” by Fleischbein. Reference: Rudolph, William Keyse and Patricia Brady. In Search of Julien Hudson: Free Artist of Color in Pre-Civil War New Orleans. New Orleans: The Historic New Orleans Collection, 2010, pp. 37-42. Harter, John Burton and Mary Louise Tucker. The Louisiana Portrait Gallery. Baton Rouge: Louisiana State Museum, 1979. National Society of the Colonial Dames of America . Louisiana Portraits. New Orleans: Colonial Dames, 1975, p. 253.


Note: This chair is very similar to a campeche rocker discovered by antiquarian Jas Gundry and now in the Bayou Bend Collection, Houston (acc. b.2001.2). Elements below the crest appear to be identical on both chairs. The chair offered here has a crest with finely molded edge and graduated lobes differing from the high scalloped flat edged arch on the Bayou Bend example. Reference: Holden, Bacot, Gontar, et. al. Furnishing Louisiana, Creole and Acadian Furniture, 17351835. p. 359, fig. 23.


161. A Pair of American Late Federal Mahogany Footstools in the Sheraton Taste, early 19th c., upholstered tops, rectangular frames on bulbous turned legs, retaining original surface, height 8 in., width 12 in., depth 9 in. $600/800

162. An American Classical Carved Mahogany and Gilt-Decorated Center Table, c. 1830, attributed to Anthony Quervelle, Philadelphia, Egyptian marble top above molded frieze with ebonized bands, gadrooned lotus carved support, stenciled incurvate triangular plinth on volute acanthus paw feet, casters, height 29 in., diameter 34 in. $5000/7000

163. An American Rococo Carved and Laminated Rosewood Parlor Suite, mid-19th c., attributed to J. & J.W. Meeks, New York, in the pattern referred to as “Hawkins”, comprising a sofa, three armchairs and two side chairs, finely carved floral and grape motif, sinuous serpentine form, the backs with tall crests, cabriole arms and legs, later casters, sofa height 49 in., width 64 in., depth 25 in. $12000/18000 Note: A nearly identical parlour suite, attributed to Joseph W. Meeks and presented to his daughter, Sophia Theresa at her marriage to Dexter Hawkins, is conserved by the Metropolitan Museum of Art, New York. Reference: See Davidson and Stillinger, The American Wing, The Metropolitan Museum of Art, p. 169, pl. 261, 262.

163 W denotes the lot is illustrated at


166. A Gorham “Jefferson” Pattern Sterling Silver Flatware Service, ret. A.B. Griswold & Co. LTD, New Orleans, act. 19061924,including 16 dinner forks, 40 luncheon forks, 12 dessert spoons, 12 tablespoons, 10 bouillon spoons, 12 fruit spoons, 6 citrus spoons, 20 ice cream spoons, 11 iced tea spoons, 4 teaspoons, 12 flat butter spreaders, 3 salt spoons, and a fish serving fork and knife, combined weight 186.90 troy ozs., in a paint-decorated fitted case, (approx. 150 pcs.) $5000/7000 167



164. A Rare American or English Rosewood Curule Armchair, c. 1830, after a design by Karl Friedrich Schinkel, scrolled uprights, padded scrolled arms, lotus-carved curule legs, casters, boss accents throughout. $1200/1800 Note: The curved stiles, scrolled arms and fans and bosses on the curule base on this chair are very similar to a Classical armchair with bookstand by German Architect Karl Friedrich Schinkel (17811841). Reference: Honour, Hugh Cabinet Makers and Furniture Designers, 1972 p. 229.



165. A Fine New Orleans Coin Silver Cake Basket, Terfloth & Kuchler, act. 1858-1866, lobed oval boat-shaped basket on conforming pedestal base, applied beaded border around foot, the bowl centered with floral medallion retaining traces of gold wash, ropetwist swing handle, height 10 1/8 in., length 13 in., weight approx. 25 troy ozs. $3000/5000 Note: A closely related basket (but without the floral medallion) by Adolphe Himmel for Hyde & Goodrich is illustrated in Crescent City Silver, p. 48, plate 49.

167. A Monumental South American Figural Maté Pot and Cover, 19th c., probably Peru or Bolivia, hallmarks not identified, the cover in the form of an African bust, swirl fluted body, ring handles, hand and fish pendants, raised on bare feet, height 16 1/2 in., width 9 in., weight 77.35 troy ozs. $1500/2500

168. A New Orleans Coin Silver Wastebowl, Christopf Christian Kuchler, New Orleans, ret. Hyde & Goodrich, c. 1855, marked “K” in cartouche, “HYDE & GOODRICH” in arc over “MANUFACTURERS” in rectangle, and “WARRANTED/PURE COIN” in a serrated cartouche, raised circular bowl with lobed neck and everted scalloped rim, rococo repoussé and chasing, two cartouches, one engraved with script initials “PB”, applied die rolled oak leaf footband; now with associated cover, the unmarked cover with a cast eagle finial and a small die rolled band on the rim, repoussé scrolls, flowers and foliage forming cartouche also engraved with script initials matching those on the bowl, bowl height 3 3/4 in., diameter 6 in., weight 13.15 troy ozs.; cover height 3 1/4 in., diameter 5 7/8 in., weight 7.90 troy ozs.





$2500/3500 169. A Gorham Coin Silver Water Pitcher, 1863-1865, Gorham trademark below “550” and with the lion facing right, NeoGrec baluster form having flat surface chased bands, Greek key border at the neck and a beaded foot, hollowcast handle, height 9 7/8 in., weight 31.20 troy ozs. $1800/2500

171. An American Coin Silver Julep Cup, ret. John Brent Akin, Philadelphia and Danville, Kentucky, 1850-1860, height 3 1/2 in., diameter 3 1/4 in.


$500/700 170. A Gorham Japonesque Sterling Silver Ice Cream Knife, c. 1880, in the “Hizen” pattern, the blade decorated with a carp and swirls of water against a gilt background, the hollow handle with fish, swirls of water and an egret, verso with bamboo leaves against a basketweave background, retains traces of original gilt highlights, length 12 1/8 in. $600/900 Note: Gorham’s “Hizen” pattern is named for the old Japanese province of Hizen, now Nagasaski Prefecture. It was introduced initially in 1883 as a not-full-line pattern of fancy serving pieces and extended into a full line in 1887. Labeled period photographs in the Gorham Archives at Brown University Library identify thirty-seven piece types in “Hizen”.

Reference: Boultinghouse, Marquis. Silversmiths, Jewelers, Watch & Clock Makers of Kentucky, 1785-1900, pp. 29-30.

172. A Set of Six American Sterling Silver Julep Cups, S. Kirk & Son, height 4 in., total weight 21.95 troy ozs. $600/800

“Hizen” features twenty-five variations in handle motif, each with its own unique handle shape. For variations in the chased decoration on “Hizen” ice cream knife blades, see Silver Magazine, Nov-Dec 1987 p. 23; March-April 2003, fig. 16, p. 24; and May-June 2005, cover and fig. 9, p. 21. Reference: Carpenter, Charles H., Jr., Gorham Silver 1831-1981, pp. 104-105; William P. Hood, Jr. et al, “Gorham’s Hizen Flatware Pattern”, Silver Magazine, March-April 2003, pp.16-31; Bennett, Dale E., “A History of Ice Cream and Its Servers”, Silver Magazine, May-June 2005, pp. 18-27, and July-August, 2005, pp. 22-31; and Cramer, Diane, “Silver in the Japanese Style”, Silver Magazine, November-December 1987, pp. 20-25.

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176. A Fine Civil War Regimental Presentation Coin Silver Pitcher, c. 1861, Bigelow, Brothers & Kennard, Boston, wc. 1845-1863, engraved with vignettes of war camps, the tents marked “Co. B” and “N.E.G.”; the large void cartouche flanked by soldiers in dress and fighting uniforms, above an eagle with banner marked “Our Nation’s Honor The Bond of Union” over a “B”, height 12 in., weight 30.35 troy ozs.


W 173. A Set of American Coin

Silver Flatware, “Leaf” pattern, marked “PATENT 1855”, “COIN” and “R”, probably originally patented by John Polhemus or Henry Hebbard, comprising 10 dinner forks (length 8 in.), 8 forks (length 6 3/4 in.), 17 teaspoons (length 6 in.), 8 dessert spoons (length 7 1/4 in.), and 9 soup or tablespoons (length 8 1/2 in.), engraved script initials “M.R.G.” on upperface, weight 60.25 troy ozs., (52 pcs.)



$1500/2000 Note: George Shiebler later obtained the tools and dies of John Polhemus, Henry Hebbard and others in the 1840s and 1880s. He is listed as introducing “Leaf” c. 1880.

Note: “In 1861 the New England Guard, a Boston military organization, was nearing its halfcentury mark. Organized in 1812, for almost fifty years it had been one of the best drilled companies in the Commonwealth. From the beginning its personnel consisted of the very finest afforded by the foremost city in New England; men who were capable of appreciating and, if need be, exemplifying its motto, viz.: “Our Nation’s Honor the Bond of Union.” When 1861 began, the Guards, under the command of Captain Harrison Ritchie, constituted Company B of the Second Battalion of Infantry. In those days military spirit ran high, for the war between North and South seemed imminent.”

W 174. A Large Taylor &

Lawrie Coin Silver Serving Fork, Philadelphia, active 1837-1852, retailed by Bailey & Co., active 1848-1865, brightcut engraved Old English pattern with script monogram “JMR” with shield on upper face of handle, heart cut out, reverse engraved “Belonged to Chief Justice /John Meredith Read 1797-1874/and inherited by his son/General John Meredith Read”, length 14 3/8 in., weight 7.25 troy ozs. $800/1200 Note: The senior Read was one of the founders of the Republican Party and Chief Justice of the Pennsylvania Supreme Court. The junior Read was a Civil War general and diplomat.


Reference: Alfred Seeley Roe, The Twenty-Fourth Regiment, Massachusetts Volunteers, 1861-1866, New England Guard Regiment, 1907, Worcester, MA, pg. 9.

177. A Rare American Classical Coin Silver Entrée Dish, c. 1820, New York, with pseudo hallmarks, maker not identified, gadrooned cover and base, of rectangular form with original removable handle, fine condition, 8 3/4 in. x 12 in., weight 50 troy ozs., 45 dwts. $4000/6000

175. A Tennessee Coin Silver Julep Cup, Thomas Gowdey, Nashville, wc. 1825-1863, incised mark “T. GOWDY” (sic), tapered form with molded rims and beading, period script monogram, height 3 5/8 in., weight 4.30 troy ozs.

W 178. A Continental .800 Silver Sucrier and Cover in the



Reference: Caldwell, Benjamin Hubbard, Jr., Tennessee Silversmiths, pp.94-99


Neoclassical Taste, 19th c., probably Venice, with French import mark, urn form on plinth with ball feet, height 9 in, weight 12.20 troy ozs. Reference: Tardy, p. 207; Dictionnaire des Poncoins, Tome I, p. 88.

W 179. [Group

of Five ArtistIllustrated Books], including Sir Thomas Malory, Le Morte d’Arthur, 1909, E.P. Dutton & Co., NY, second edition, illustrated by Aubrey Beardsley; Oscar Wilde, Salome, 1907, John Lane, with 8 illustrations by Beardsley, intro. by R. Ross; Clement Moore, The Night Before Christmas, Lippincott, Phila., c. 1935, illustrated by Arthur Rackham; De la Motte Fouque, Undine, 1909, Heinemann, London and Doubleday, NY, illustrated by Arthur Rackham, full leather; and Oscar Wilde, The Happy Prince and Other Tales, 1920, London, illustrated by Charles Robinson, full leather. $600/900 W 180. [LOUISIANA ARCHITECTURE],

A. Hays Town. The Architectural Style of A. Hays Town, published by Amdulaine Publications, Baton Rouge, LA, 1985, first edition, with dust jacket, introduction by Blanche Town Gladney, featuring 106 preliminary sketches of Town’s Southern architecture, 11 3/8 in. x 15 7/8 in. $500/750 W 181. [Louisiana and Regional

Books], a group of 5 books including: Historic Record of Camp Nicholls, New Orleans, 1917 (Washington Artillery), 1917, Robt. True Co., New Orleans, soft, pictorial covers, 36 pgs.; Arthur Burton La Cour, New Orleans Masquerade, Chronicles of Carnival, 1957, by Pelican Publishing, New Orleans; David King Gleason, Plantation Homes of Louisiana and the Natchez Area, 1982, LSU Press; Laura F. Hinsdale, Legends and Lyrics of the Gulf Coast, 1896, Biloxi, MS, signed; and Alice Ravenel Huger Smith of Charleston, South Carolina, published by her friends, 1956, Charleston. $600/900

W 185. [New

four antique books including; Histoire de la Louisiane..., by Le Page du Pratz, Paris, 1758, (vol. 1 only), with fold-out maps; Norman’s New Orleans and Environs..., published New Orleans, 1845; Cohen’s New Orleans and Lafayette Directory for 1852 and Trois Mois a la Louisiane, by Camille Lebrun, 1857.

Orleans Cotton Exposition Map], “The World’s Industrial and Cotton Centennial Exposition, New Orleans, LA, USA, Department of Installation, Plan No. 2, Map of the City of New Orleans, showing location of Exposition Grounds and all approaches thereto land and water”, c. 1884, by Southern Lithographic Company, 38 Natchez St., New Orleans, with inset maps of the French Quarter, Eads lighthouse, railroad map of LA and TX, a view of New Orleans in 1719, and a bird’s-eye-view of the Exposition, together with an original booklet showing the prizes and rules of the Horticulture Exhibit at the Cotton Exhibition, with envelope, the map sight 27 1/2 in. x 37 1/2 in., framed




W 182. [Louisiana Books], a group of

W 183. A Group of Six Antique

Provenance: James Bowman, Rosedown Plantation, St. Francisville, LA.

Cookbooks, from 1767 to 1889 including: La Cuisiniere Bourgeoise, suivie de l’Office..., Guillyn, Paris 1767; La Cuisiniere Bourgeoise.... Salles, Riom, 1803; La Cuisiniere Royal..., Chez Barba, Paris, 1817: La Petite Cuisiniere Habile, published New Orleans, 1840; The Experienced American Housekeeper or Domestic Cookery..., Judd, Loomis, Hartford, 1836 and Gastronomy as a Fine Art..., Anderson, London, 1889.

186. John William Hill (American, 1812-1879) & Benjamin Franklin Smith (American, 1830-1927), “New Orleans from St. Patrick’s Church 1852”, lithograph with later hand-coloring, published by Smith Brothers & Co., 225 Fulton Street, New York, sheet 28 1/8 in. x 43 in., image 23 1/2 in. x 40 1/4 in., attractively matted and framed.



W 184. [New Orleans Fire

Department], History of the Fire Department of New Orleans, from the Earliest Days to the Present Time; including the Original Volunteer Department, the Firemen’s Charitable Associations, and the Paid Department down to 1895, edited by Thomas O’Connor, Chief Engineer of the New Orleans Fire Department, published in New Orleans, 1895, cloth, 565 pgs., numerous pages of advertising, and illustrated with 135 photographs. $500/700

Note: “The English-born J. W. Hill was a topographical artist who, from the late 1840s through 1855, drew splendid views of American cities for a series of lithographs and engravings published by Smith Bros. of New York. B.F. Smith, one of the firm’s proprietors, assisted Hill in drawing several of the views. This view looks down-river across the Central Business District and the Vieux Carré from atop the tower of St. Patrick’s Church, a popular perch for artists of bird’s-eye views. It offers a superb depiction of the center of the city, highly accurate except for the St. Charles Hotel, which after burning down in 1851, was rebuilt without a dome.” Reference: Poesch Printmaking in New Orleans, Univ. Press. of Miss., HNOC, 2006. pg. 106.; Lemmon, Magill & Weise, Charting Louisiana, HNOC., pg. 298.

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187. John James Audubon (American, 1785-1851), “Female Hen and Young, Wild Turkey”, Plate 6, hand-colored engraving with aquatint, from Birds of America, Havell edition, “J.Whatman/ Turkey Mill/1827” watermark, sheet 26 in. x 39 1/4 in.

190. John James Audubon, (America, 1785-1851), “BlueWinged Teal”, Plate 313, hand-colored engraving with aquatint, from Birds of America, Havell edition, “J.Whatman/1836” watermark, sheet 25 1/8 in. x 38 in., attractively matted and framed. $4000/6000

$20000/30000 Provenance: Kennedy & Co. Rare Prints, 785 Fifth Ave., New York. 187



188. John James Audubon (American, 1785-1851), “Florida Jay”, Plate 87, hand-colored engraving with aquatint, from Birds of America, Havell edition, sheet 38 1/2 in. x 26 1/2 in., attractively float-mounted and framed. $7000/10000 189. John James Audubon (American, 1785-1851), “Greenshank, View of St. Augustine and Spanish Fort, East Florida”, Plate 269, hand-colored engraving with aquatint, from Birds of America, Havell edition, sheet 26 1/4 in. x 38 1/4 in., attractively float-mounted and framed. $4000/6000



191. John James Audu­bon (American, 1785-1851), The Birds of America, From Drawings Made in the United States and their Territories, J.J. Audubon  and J.B. Chevalier, 1840-1844, 7 volumes, octavo, first edition, with 500 hand-colored lithograph plates after the original watercolors and engravings by Audubon, printed by J.T. Bowen, Phila. and George Endicott, NY (plates 136-150), all plates loose from volumes, complete with text and original threequarter leather bindings with marbled boards and endpapers, gilt titles. $15000/25000





192. John James Audubon (American, 1785-1851), “RoseBreasted Grosbeak”, Plate 127, hand-colored engraving with aquatint, from Birds of America, Havell edition, sheet 38 1/2 in. x 26 1/2 in., attractively floatmounted and framed.

193. John James Audubon (American, 1785-1851), “Pied Duck”, Plate 332, hand-colored engraving with aquatint, from Birds of America, Havell edition, sheet 26 3/4 in. x 38 1/4 in., attractively float-mounted and framed.


$6000/9000 W denotes the lot is illustrated at



194. John James Audubon (American, 1785-1851), “Cock of the Plains”, Plate 371, hand-colored engraving with aquatint, from Birds of America, Havell edition, sheet 26 3/4 in. x 38 3/4 in., attractively float-mounted and framed. $12000/18000 196


195. Joseph Rusling Meeker (American, 1827-1889), “Bayou Scene with Egret”, 1878, oil on canvas, signed and dated lower left, 18 in. x 36 in., in a period giltwood frame. $40000/60000 Note: This monumental Louisiana landscape by Joseph Rusling Meeker vividly depicts a well-recognized perspective in the artist’s oeuvre. A detailed grouping of moss-laden trees and an egret are in the left foreground which opens onto an expansive bayou; a dense cypress tree sits along the horizon. The vibrant, fiery orange-pink clouds at sunset are distinct hallmarks of a “Meeker” sky. He accurately captures the effect of the setting sun which creates a soft pink atmospheric light distinguishable from any other time of day.

196. George Louis Viavant (American/Louisiana, 18721924), “Nature Morte: Snipe”, 1913, watercolor and gouache on paper, signed, inscribed “N.O.” and dated lower left, sight 17 1/2 in. x 11 1/2 in., in a period wood frame. $6000/9000 Provenance: Succession of Harry T Howard III.


197. George Louis Viavant (American/Louisiana, 18721924), “Nature Morte: Pintail”, 1913, watercolor and gouache on paper, signed, inscribed “N.O.” and dated lower left, sight 26 1/2 in. x 16 1/2 in., period frame. $5000/7000 Provenance: Succession of Harry T Howard III. 198. Charles Fraser (American/ Charleston, 1782-1860), “Portrait of William Ashe Alston (1813-1842)”, c. 1830, miniature watercolor on ivory laid down on paper, unsigned, in a later 14 kt. yellow gold locket, 4 1/2 in. x 3 1/2 in.


$4000/6000 Provenance: By descent in the family; by sale to Mrs. Miles White, Jr., Baltimore, MD (d. 1955); by sale to Henry Ford Museum, Dearborn, MI (acc. 65.73.5); subsequently deaccessioned, c. 2010. Note: Charleston native Charles Fraser (1782-1860) was a lawyer, painter, writer, and orator, and one of America’s most notable miniaturists of the late 18th and early 19th centuries. The artist resided at 56 King Street, Charleston, throughout his career, and portrayed the South Carolina Lowcountry’s most influential citizens. Between 1818 and 1846, he recorded his sitter’s names in a memorandum book that is now at the Gibbes Museum of Art in Charleston. In addition to miniatures, Fraser was noted for landscape and literary pictures.



William Ashe Alston (1813-1842) was born at Rose Hill Plantation, Waccamaw Neck, Georgetown County, South Carolina. This portrait’s commanding size and superb quality reflects the family’s tremendous wealth. Scion to one of South Carolina’s most prosperous planter families, the sitter appears to be 16-18 years of age, and wears an overcoat indicative of military service: perhaps a uniform from his days at Yale (1829-1830), when the school fulfilled both scholarly and military aspirations, or from his service in the South Carolina Militia shortly thereafter. Alston married Anne Porter (1819-1842) of Oaklawn Manor in Franklin, Louisiana in 1840, and the couple traveled extensively during their brief marriage, both dying after returning from a trip to Britain in 1842. Fraser also painted several other members of the Alston family, many of which are in the collection of the Gibbes Museum of Art in Charleston. Exhibited: Carolina Art Association, Gibbes Memorial Art Gallery, Charleston, 29-February 26, 1934. Henry Ford Museum, 1965-2010. Reference: Documented by the Frick Art Reference Library as the work of artist Charles Fraser. MESDA Research File 12241.

199. A Kentucky Coin Silver Julep Cup, Eli C. Garner and Daniel Frank Winchester, Lexington, wc. 1842/3-1862, marked “GARNER & WINCHESTER”, in a rectangle, “LEX. KY” in a rectangle and “10 02. 1.5” in a rectangle; slightly tapered form with reeded rims, engraved “Presented to M.A. Payne by her Father”, height 3 1/2 in., weight 4.10 troy ozs. $1200/1800 Reference: Boultinghouse, Marquis, Silversmiths of Kentucky 1785-1900, pp. 130-132 and 301.


200. A Kentucky Coin Silver Julep Cup, William P. Poindexter, wc. 1818-1869, or William A. Poindexter, wc. 1836-1851, Lexington, mid-19th c., incised mark “POINDEXTER”, tapered form with reeded rims, engraved “Virginia Wilson”, height 3 1/2 in., weight 5.25 troy ozs. $1200/1800 Reference: Boultinghouse, Marquis, Silversmiths of Kentucky, 1785-1900, pp. 218-220 and 305.

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201. A Tennessee Coin Silver Cup, William Henry Calhoun, Nashville, wc. 18351865, marked “W.H. CALHOUN” in a rectangle, footed urn form with scroll handle, floral chasing, reserve engraved “Arthur Elliott 1857”, height 3 3/8 in., weight 2 troy ozs.

203. William Henry Buck (American/New Orleans, 1840-1880), “Louisiana Sugar Mill”, oil on academy board, signed “Sketch by Buck” lower right, pencil-signed en verso, “W.E. Seebold, Bookseller, Stationer and Fine Arts, New Orleans” label en verso of backing board, 9 1/2 in. x 12 1/4 in., original giltwood frame. $45000/65000 Provenance: Descended in a New Orleans family.

$800/1200 Reference: Caldwell, Benjamin Hubbard, Jr., Tennessee Silversmiths, pp. 49-52

W 202. An American

201 Coin Silver Repoussé Cup, A.E. Warner, Baltimore, c. 1835-50, marked “A.E. WARNER” in rectangle and “11” in rectangle; footed urn form, scroll handle, fruit, flower and bird repoussé, cartouche engraved with monogram and armorial, height 4 1/2 in., weight 5.9 troy ozs. $300/500



Note: William Henry Buck’s views of Louisiana often depict aspects of plantation life. In the painting offered here, Buck shows a sugar mill with its distinctive square chimney on the right side of the composition. Just beyond is a raised low-slung building along the banks of the bayou. A large moss-laden live oak tree features prominently in the landscape providing shade to grazing cattle. Other buildings and cattle are depicted in the background. Signed “Sketch by Buck “ this painting has loose brush work which is very much in keeping with the plein air tradition of landscape painting. Buck, together with his teacher Richard Clague, Jr., made visits to locales in the Louisiana countryside where they made studies in order to complete ambitious paintings in their respective studios. The work offered here captures a moment in time on a late 19th c. Louisiana plantation, rendered with striking immediacy by an accomplished artist experiencing the locale first hand.

204. Adolph D. Rinck (French/ New Orleans, 1810-1871, active New Orleans 18401871), “Portrait of a Gentleman”, 1848, oil on canvas, signed and dated lower left, 36 in. x 29 in., in a cove-molded giltwood frame. $4000/6000 Provenance: Deaccessioned by the Louisiana Landmarks Society, Pitot House. 205. A School Girl Album by Mary Washington Rose (Mississippi/ American, 1819-1883), Grandniece of General George Washington, c. 1833, Copiah County, Mississippi, watercolor on paper bound with cotton wove paper, 10 in. x 8 in., containing eleven vibrant watercolor drawings, principally of flora, a rich still life, and a full-length figure of a young girl, each set above an intriguing range of verses; together with a draft letter by her father William Pinckney Rose.



$3000/5000 Note: William Pinckney Rose (1787-1861) was a veteran of the Battle of New Orleans, and a member of the Mississippi Constitutional Convention. 206. Achille Perelli (American/ New Orleans, 1822-1891), “Nature Morte: Red Squirrel”, watercolor, signed and inscribed “N.O.” lower left, sight 24 in. x 15 in., attractively framed.



$5000/7000 Provenance: Descended in the family of Mrs. Joseph Airey, 555 Audubon Street, New Orleans. Note: A nearly identical depiction of a red squirrel by Perelli is in the Laura Simon Nelson Collection at the Historic New Orleans Collection. Reference: Laura Simon Nelson Collection at the Historic New Orleans Collection, 1996, illus. p. 42; Jordan, George, George L. Viavant: Artist of the Hunt, 2003, illus. p. 31.

207. George Louis Viavant (American/New Orleans, 1872-1924), “Nature Morte: Squirrel”, 1913, watercolor, signed, dated and inscribed “N.O.” lower left, sight 19 1/2 in. x 11 1/2 in., in a period wood frame. $4000/6000 Provenance: Descended in the family of Mrs. Joseph Airey, 555 Audubon Street, New Orleans. Note: Interestingly, both this George Louis Viavant and the previous Achille Perelli nature morte of a squirrel (lot 206) descended in the same local estate collection. In 1884 when Viavant was 12 years old he began to study under Perelli at the Southern Art Union. These two artists were the most acclaimed for their skill in depicting the game of Louisiana in the nature morte style. W denotes the lot is illustrated at


209. An Alabama Coin Silver Cup, James Conning, Mobile, wc. 1840-1872, marked “J. CONNING” in a rectangle and “MOBILE” in rectangle; cann shape with molded and beaded rims and reeded bands, scroll handle, engraved “FGU to FUM”, height 3 1/2 in., weight 3.90 troy ozs. $400/600 210. A Set of Six Coin Silver Salts with Matching Spoons, the spoons marked “J. Conning, Mobile”, the dishes of footed form with beaded rim and gilt interior, the spoons similar to Polhemus “Bead” pattern, also with gilding. $400/600 W 211. An Alabama Coin Silver Sugar Tongs, Charles

White, Mobile, wc. 1825-1842, marked “C. WHITE MOBILE” in rectangle; scalloped handle with shell-shaped terminals, script monogram, length 6 5/8 in., weight 1.50 troy ozs. $150/250 208 W 212. An

Alabama Coin Silver Sugar Tongs, Walton Pearce, Mobile, c. 1844, marked “W PEARCE” in serrated rectangle; with shell terminals and traces of old script monogram, length 6 1/4 in., weight 1.55 troy ozs. $150/250

210 209

208. A Rare American Coin Silver Soup Tureen and Cover, Adolphe Himmel for Hyde & Goodrich, New Orleans, c. 1855, of good weight, oval, applied at rim with vine border and pendant grapes, the body chased and engraved with large scrolling grapevines and with two vacant grapevine cartouches, twisted vine handles, the spreading oval base chased to match, applied openwork vines and leaves, the conforming domed cover with vine finial, base with maker’s mark “A.H./ N.O.”, and retailer’s mark, length over handles 15 1/2 in., weight 106 troy ozs.


$20000/30000 Note: A nearly identical tureen from the Anglo-American Art Museum (now the LSU Museum of Art), also by Himmel for Hyde & Goodrich, is illustrated in Crescent City Silver, p. 53, pl. 55.



213. An Alabama Coin Silver Soup Ladle, John A. L’Hommedieu, Mobile, wc. 1839-1867, marked “J.A. L’HOMMEDIEU” in rectangle and “MOBILE” in rectangle; fiddle thread pattern, engraved “J.A. Rone”, length 12 3/4 in., weight 6.95 troy ozs. $400/600 214. An Alabama Coin Silver Soup Ladle, James Conning, Mobile, wc. 1840-1872, marked “J. CONNING” in rectangle and “MOBILE” in rectangle; fiddle typt pattern, engraved “Walker”, length 13 1/4 in., weight 6.60 troy ozs. $400/600

W 215. A Partial Set of Mobile Coin Silver “Fiddlethread”

Pattern Flatware, ret. Knapp & Leslie, wc. 1850-54, including four dessert spoons 7 1/4 in., two dinner forks 7 3/4 in., one sugar sifter spoon 7 1/4 in., all with engraved script initials “MEW” on the reverse; three soup spoons 8 1/4 in., journeyman’s marks of bust facing right and an eagle, engraved script initials “MEW” on the reverse; one salt spoon, with WH and curious mark on upperface, two Whiting dinner forks 7 5/8 in., (16 pcs.), combined weight 27.70 troy ounces. $200/300 Provenance: Descended in the Waring Family, 351 Government Street, Mobile, AL. W 216. A Kentucky Coin Silver Julep Cup, Hudson & Dolfinger,

Louisville, wc. 1855-1858, seamed tapered cylindrical form with applied molded rim and foot, incised mark “HUDSON & DOLFINGER” on bottom, engraved script initials “E.S.R.” on side, height 3 7/8 in., weight 5.45 troy ozs. $600/800 Reference: Boultinghouse, Marquis. Silversmiths, Jewelers, Watch and Clock Makers of Kentucky, 17851900, pp. 160 and 302.

W 217. An American Victorian Sterling Silver Napkin Ring

and Cordial Glass, engraved “Three Brothers / Biloxi / Sept 2, 1869”. $200/300 W 218. A Group of American Coin Silver Flatware, including

a Hyde & Goodrich teaspoon, 6 engraved teaspoons incised “CHAS:BEIN”; 4 engraved teaspoons, DUHME & CO; 5 “Olive” and variant teaspoons, Wood & Hughes and others; 4 luncheon forks, 7 1/4 in. oval thread unmarked; coffee spoon, S. Kirk & Son; teaspoon, “J.E. SPEAR”; and a tablespoon “JS” pat. 1887, combined weight 19.10 troy ozs., (22 pcs.)


$600/800 219. A Louisiana Carved Cherrywood Campeche Rocking Chair, early 19th c., distinctive architectural half-round crest, continuous back and seat with leather upholstery and nailhead trim, serpentine arms and supports over curule rocker base, pegged and tenoned construction, height 42 1/8 in. $4000/6000 Provenance: Hayes Family, West Brattleboro, VT; Bancroft Family, Chesterfield, MA, beginning c. 1815; on loan to the Chesterfield Town Hall, 1912; thence acquired by the current owner. Note: Interestingly, the distinctive arched crest on the present lot is essentially a scale model of several documented Louisiana “melon” headboards. See Holden, Jack D., et. Al. Furnishing Louisiana; Creole and Acadian Furniture, 1735 -1835. New Orleans: 2010. pp. 368-391. See also p. 359 for two similar campeche rockers, both discovered on the East Coast.


220. A French Provincial Cherrywood Dining Table, late 18th/early 19th c., having an overhanging plank top, shaped apron, one end drawer and slide, cabriole legs ending in hoof feet retaining a fine old patina, height 30 in., width 79 in., depth 33 in. $4000/6000 W denotes the lot is illustrated at




221. An American Federal Carved Cherrywood and Inlaid Secretary Bookcase, 1795-1810, restorations, Hagerstown, Washington County, Maryland, upper case with swan’s neck pediment, urn finials and meandering vine inlay over doors, slant front desk enclosing fitted interior, two short over three graduated drawers, ogee bracket feet, the whole with compass star and quarter fan inlay, and spiral fluted corners, height 95 in., width 41 in., depth 23 in. $5000/7000 Note: This desk and bookcase is one of the most ambitious Western Maryland examples to survive from the Federal Period. It hails from Hagerstown, in the northern Shenandoah Valley, and represents the work of a Germanic artisan whose shop was likely founded before the Revolution. More than half a dozen pieces can be attributed to this unidentified cabinetmaker. For an interesting discussion on this cabinet see Sumpter Priddy III and Joan K. Quinn. “Crossroads of Culture: Eighteenth-Century Furniture from Western Maryland.” American Furniture 1997. Milwaukee, WI: Chipstone Foundation, 1996, pages 127-169.



222. A Southern Inlaid Walnut Side Table, early 19th c., the top with string and star inlay, frieze drawer, and restrained cabriole legs, height 29 in., width 21 1/2 in., depth 18 in. $1200/1800 223. A Rare Louisiana Mulberry Slat-Back Child’s Chair, late 18th/early 19th c., River Parishes region, acorn finials, cylinder and sausage turned stiles with scribed rings, shaped slats, later rush seat, double box stretcher, faux painted surface. $3000/5000 Provenance: Descended in the family of Jean Baptiste Labranche, St. Charles Parish, LA. Note: The acorn finials, slats, stiles, legs and stretchers on this chair are closely related to those on a chair found in St. Charles Parish, now in the Stromeyer collection at Chene Vert. This chair and the Stromeyer example are part of a group of Creole style chairs known from the River Parishes. Reference: Holden, Bacot, Gontar, et. al. Furnishing Louisiana, Creole Furniture, 1735-1835, p. 298, fig. 14.


224. James Guy Evans (English, b. 1810; active New Orleans, 1843-1853), “Arrival of Gen. Z. Taylor & Staff at Balize on the U. S. Steam Ship Monmouth, B. T. Willse Commander / November 30th 1847”, oil on canvas, signed lower right, titled and dated lower center, and inscribed U.S.Q.M.D. [United States Quartermaster Department] on the steam ship’s pennant, 29 in. x 36 in., in an attractive gilt frame. $60000/90000 Note: This impressive picture documents the return to Louisiana of the hero of the Mexican War of 1846-48, General Zachary Taylor. Some confusion has been engendered by a misunderstanding of the term “Arrival…at Balize”; in fact the lighthouse shown above a fortified wall here represents the Balize, a small fort built in 1734 (now submerged) near the site of the present Pilot Town on the Northeast Pass of the Mississippi River delta; The Balize was indeed the subject of a well-known New Orleans watercolor by Benjamin Henry Latrobe (1764-1820), that was copied in oils by his son, J. H. B. Latrobe (1803-1891). The Mexican War began after the annexation of Texas in 1845, when Mexico broke off diplomatic relations with the United States and sent forces to attempt to take back the territory. General Taylor was able to successfully defend Texas and defeat Santa Anna’s troops at the Battle of Buena Vista, turning Taylor into a national hero and solidifying him as the Whig nomination for President in 1848. Taylor and his soldiers, having successfully ended the campaign in Mexico, sailed on the steamer McKee from Matamoros, Mexico to the Brazos Santiago Pass off

the coast of Texas, where they boarded the Monmouth. From there, Taylor was taken across the Gulf of Mexico and up the mouth of the Mississippi River. At the Balize, any vessel bound toward New Orleans would have performed a crucial piloting activity; the prominent figure in the bow of the ship is depicted doing just so. Taylor and his staff are shown here on the roof of the stern cabin, being greeted by an official delegation from the state of Louisiana. After his arrival in New Orleans, Taylor remained at his home near Baton Rouge until he was elected the 12th President of the United States of America. James Guy Evans, though born in England, came with his wife to the United States via Spain, where their first child was born about 1836; two more children were born in Mobile in the later 1830s, and two more in Louisiana in the early 1840s. A self-taught artist specializing in marine scenes, Evans painted “portraits” of ships usually commissioned by their commanders. For a period after their joint advertisement in the Daily Orleanian in 1850, Evans worked in partnership with the portrait and landscape painter Edward Everard Arnold (1824/6-1866); they proposed a large lithograph of the city as a general view from their studio in the Fauburg Marigny, but that scheme was never carried out. A closely similar picture by Evans, the Tow Boat Conqueror of New Orleans…Coming Up from the Balize, October 29th 1847, was sold in these rooms on 20 November 2010 as Lot 321. References: John Mahé et al., Encyclopaedia of New Orleans Artists, Historic New Orleans Collection, 1987, p. 129; “Taylor, Zachary,” Dictionary of American Biography, vol. 18 (1936), pp. 349-354; Colonial Dames of America (Mrs. Orville Lay, ed.), Alabama Portraits Prior to 1870, Mobile, 1969, p. 223; Karen Kingsley, Buildings of Louisiana, Oxford, 2003, p. 150; Jesse J. Poesch et al., Printmaking in New Orleans, Jackson and New Orleans, 2006, pp. 33, 129; Eric Heyl, Early American Steamers, Vol. 6, Buffalo, 1969; William K. Bixby, Letters of Zachary Taylor from the Battle-Fields of the Mexican War, The Genesee Press, Rochester, NY, 1908, “Letter from Zachary Taylor to Robert Wood, 10 December 1848.”

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226. John James Audubon (American, 1785-1851), “Ground Dove”, Plate 182, from Birds of America, handcolored engraving with aquatint, Havell edition, “J. Whatman, 1833” watermark, sheet 38 1/4 in. x 25 1/2 in.

228. John James Audubon (American, 1785-1851), “SharpTailed Grous”, Plate 382, handcolored engraving with aquatint, from Birds of America, Havell edition, sheet 26 1/2 in. x 38 1/2 in., attractively float-mounted and framed. $4000/6000



W 225. American School, 19th c., “Consecrated to the

Memory of Gen. Alexander Hamilton”, c. 1804, stipple engraving, printed by Scoles, allegories of Liberty and America flanking the tomb of Alexander Hamilton, sheet 15 1/2 in. x 20 in., mounted on board, attractively matted and framed. $700/1000


227. John James Audubon (American, 1785-1851), “Bemaculated Duck”, Plate 338, hand-colored engraving with aquatint, from Birds of America, Havell edition, sheet 25 1/4 in. x 38 in., attractively float-mounted and framed. $5500/7500

229. John James Audubon (American, 1785-1851), “SharpShinned Hawk”, Plate 374, handcolored engraving with aquatint, from Birds of America, Havell edition, sheet 38 1/2 in. x 26 1/4 in., attractively float-mounted and framed. $2000/3000




231. John James Audubon (American, 1785-1851), “Bartram Sandpiper”, Plate 303, hand-colored engraving with aquatint, from Birds of America, Havell edition, “J. Whatman/1836” watermark, sheet 25 1/4 in. x 34 3/4 in. $1800/2500 232. John James Audubon (American, 1785-1851), “Havell’s Tern”, Plate 409, hand-colored engraving with aquatint, from Birds of America, Havell edition, sheet 26 1/2 in. x 38 1/2 in., attractively float-mounted and framed. $1800/2500 233

230. John James Audubon (American, 17851851), “Yellow-Throated Vireo”, Plate 119, handcolored engraving with aquatint, from Birds of America, Havell edition, sheet 38 1/2 in. x 28 1/2 in., attractively float-mounted and framed.

233. John James Audubon (American, 1785-1851), “Orchard Oriole”, Plate 42, from Birds of America, hand-colored engraving with aquatint, Havell edition, “J. Whatman/ Turkey Mill” watermark, sheet 34 1/2 in. x 25 in. $3000/5000

$2000/3000 W denotes the lot is illustrated at


236. William Aiken Walker (American/ South, 18391921), “Female Cotton Picker with Pipe”, oil on academy board, signed lower right, 8 1/4 in. x 4 in., in a period frame. $4000/6000 Note: To be included in John Fowler’s forthcoming catalogue raisonné on William Aiken Walker. W 237. The First



Issue of The Picayune, Vol. 1, No. 1, New Orleans, Wednesday Morning, January 25, 1837, four pages, 15 3/4 in. 10 1/2 in., containing a lengthy prospectus of the newspaper and how the name was derived, together with a typed letter signed, from John Kendall to a Mr. Alleyn, on The Daily Picayune letterhead, dated July 31, 1896, introducing a Mr. H.P. Hester, and inquiring on the possibility of buying a newspaper in Vicksburg, MS. $500/700

234. William Aiken Walker (American/South Carolina, 1839-1921), “Whar am de Expersishon?”, oil on academy board, signed lower left, titled lower center, inscribed “Deacon Johnsing, Hotel Royal, New Orleans” on valise, 11 7/8 in. x 5 7/8 in., in a period giltwood frame.

W 238. [American World

Atlas], Colton’s Atlas of the World, Illustrating Physical and Political Geography, J.H. Colton and Company, No. 172 William, New York, 1856, 2 volumes, folio (18 1/2 in. x 16 in.), complete with over 100 hand-colored engraved plates and allegorical vignettes, note: boards detached.

$15000/25000 Note: To be included in John Fowler’s forthcoming catalogue raisonné on William Aiken Walker. 235. William Aiken Walker (American/South Carolina, 1839-1921), “Woman with Cotton Basket”, oil on academy board, signed lower right, 11 7/8 in. x 5 3/4 in, in a period giltwood frame; en suite with preceding lot.


$7000/10000 Note: To be included in John Fowler’s forthcoming catalogue raisonné on William Aiken Walker. 236




239. Henri Joutel (French, 1643-1745), A Journal of the Last Voyage Perform’d by Mons. de la Sale, to the Gulph of Mexico, To find out the Mouth of the Missisipi River..., published by Bell, Lintoss and Baker, London, 1714, 12mo, first English edition, three-quarter leather, 210 pages, complete with scarce map; “A New Map of the Country of Louisiana and of Missisipi...”, with an inset view of Niagara Falls, sheet 14 1/2 in. x 15 3/4 in. $5000/7000 Provenance: Chicago Historical Society (with their stamp and discard label). Note: Joutel’s work is an important narrative of la Salle’s ill-fated expedition. La Salle received royal approval for his plans to establish a French colony in Louisiana in 1684. Intending to establish the settlement at the mouth of the Mississippi, his ship instead blew off course and landed in Texas. He established a colony there which failed, resulting in la Salle’s assassination by his own men. Joutel survived the insurgence and his account is the best description of la Salle’s expedition to Louisiana and Texas. Reference: Church 859, Howes J-266, Sabin 36762, Streeter sale I:112.

240. Henry Popple (English, 18th c.), “A Map of the British Empire in America with the French and Spanish Settlements adjacent thereto” (Louisiana/Texas, sheet 9), 1735, engraved by W.H. Toms & R.W. Seale, London, 21 in. x 28 3/4 in. $4000/6000 Note: This important map is one sheet of the first large-scale map of North America, which, with all sheets assembled, would result in a map more than eight feet square. It was produced in 1733 for the Lord Commissioners of Trade and Plantations to help settle British, French and Spanish territorial disputes. This 1735 state is identical except for the addition of a page number. Popple’s only map, it so impressed Benjamin Franklin that he ordered two copies for the Pennsylvania Assembly. The map spans from Pensacola, Fl, west past Santa Fe, and north to parts of Oklahoma and features details of rivers, towns, Indian tribes, settlements and portages. References: Cumming 216, Streeter 676, Lowery 337-8.


241. Jacob de Cordova (America, 1808-1868), “J. De Cordova’s Map of the State of Texas Compiled from the records of the General Land Office of the State by Robert Creuzbaur, Revised & Corrected by Charles W. Pressler”, 1856, engraved pocket-map with hand-coloring, published by J.H. Colton & Co., New York, complete with gilt and embossed leather boards, sheet 37 in. x 34 1/4 in., attractively float mounted and framed. $8000/12000 Provenance: A Houston Estate. Note: Jacob de Cordova was one of the first major land speculators in Texas, at one time controlling one million acres. He hired Robert Creuzbaur of the Texas General Land Office to compile this map for promotional purposes. Through several editions, this map was the most accurate available for the 250 million acres in the public domain. References: Ristow, American Maps and Mapmakers, pg. 459-460; Day, Maps of Texas, pg. 55, 61 87, 152; Rumsey, 3366.

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243. [Spanish Sea Chart of Coasts of Texas and Louisiana], “Seno Mejicano, Hoja II., Parte Setentrional...”, 1867, hand-colored engraving, by T. Bryant, Direccion de Hidrografia, Madrid (with their embossed stamp), showing the coasts of Texas, Louisiana, Mississippi, Alabama and Western Florida; with inset maps of Matagorda Bay, Galveston Bay, the mouth of the Sabine River, Biloxi Bay and San Luis Pass; with lighthouses highlighted, sheet 26 1/4 in. x 40 1/4 in. $1200/1800 244. Andres de Islas (active 1753-1775), “Portrait of Joachin de Montserrat, Marqués de Cruillas”, oil on canvas, unsigned, inscribed in Spanish “El Exemo. Sr. Dn. Joachin Montserrat Cuirana Cruillas Crespi de Baldaura Alsonso Calatavud sans de lat Gobernado y Capitan General de Nueva España y Presidente” at bottom, 25 5/8 in. x 17 7/8 in., in a later Colonial-style frame. $15000/25000 Note: Joaquin de Montserrat, Marqués de Cruillas was born in Valencia, Spain in 1700, and had a long and distinguished military career before being named the forty-fourth Viceroy (and simultaneously governor and president) of New Spain in 1760. Though his tenure was brief – six years – it was fraught with numerous events, both natural and political, including an epidemic of smallpox, a flood, a Mayan rebellion, the Seven Year’s War, and the transfer of Louisiana from France to Spain. Despite the extreme adversity he faced in his role as Viceroy, Montserrat never wavered in his determination to organize a skilled and trained colonial army, compelling Spain to not only supply proper arms for the militia, but also military instructors. It is because of his determination that New Spain gained its first professional army.


242. Marquis François de Barbé-Marbois (French, 17451837), Histoire de la Louisiane et la Cession de cette Colonie par la France aux Etats-Unis de l’Amerique Septentrionale..., published by Firmin Didot, Paris, 1829, 12mo, first edition, leather, marbled boards, complete with scarce hand-colored, engraved map showing the Louisiana Purchase (sheet 11 1/2 in. x 14 3/4 in.) $1000/1500 Note: Barbé-Marbois, “The man who sold Louisiana,” became Napoleon’s Secretary of the Treasury in 1801. In 1803 he was appointed to sell Louisiana to the United States for 50 million francs, but negotiated a higher price of 80 million, for which he was liberally rewarded by Napoleon.


In 1762, after a brief respite, Spain once again declared war with England, and Montserrat’s military astuteness in creating, training, and arming a local army was soon apparent. After Havana, Cuba fell to the English in August of that year, it appeared likely that the port city of Veracruz would be the next city to face attack. Montserrat enhanced his already strong army by organizing new companies of grenadiers from the local Afro-Caribbean population and gathering militia from cities across Mexico. He strengthened the city’s fortifications, and ensured that supplies were plentiful for citizens and soldiers alike. Veracruz survived unscathed. By the official end of the War with the Treaty of Paris in February 1763, Spain had regained Havana and acquired the territory of Louisiana. Reference: Hubert Howe Bancroft, History of Mexico - Volume III, 1600-1803, San Francisco, 1883, pp 363-370.

245. Thomas Bangs Thorpe (1815-1878, active New Orleans 18361854, and 18621863), “The ‘Temple’” and “The Pyramid”, both at ChichénItzá, Yucatán, 1843; a pair of paintings, oil on canvas, signed and dated en verso of the canvas “Thos. B. Thorpe, Pinx. / after B. M. Norman 1843”, and with stencils of New Orleans art-supply houses also en verso of the canvas, each 21 1/2 in. x 27 in., framed.; accompanied by B.M. Norman, Rambles in Yucatan...1843, 3rd edition, 3/4 leather, 304 pgs.

the wonderful drawings of Frederick Catherwood (17991854), now mostly in the British Museum, which are “the first accurate drawings of Mayan inscriptions and buildings ever recorded.”

Norman’s two editions are “embellished” with some three dozen engravings after his own drawings and vignettes; and on the basis of two of the most handsome among them, Thomas Bangs Thorpe in New Orleans—a newspaperman and amateur artist— painted these two arresting images of The Temple and The Pyramid of the “Chichen Ruins.” Both pictures display the naïve charm of this 245 amateur painter, and $40000/60000 introduce minor changes into the Note: In November or scenes: the luxuriant December of 1842 skyline vegetation of Norman’s plates is somewhat played down, while other (with a second edition in 1843) Benjamin Moore Norman (1809-1860) published foreground plants are added; and the observing figures (including a self-portrait of in New Orleans and Philadelphia his important Rambles in Yucatan, or Notes of Norman himself, sketching the Pyramid) are slightly increased in scale. Because of Travel Through the Peninsula, including a visit to the remarkable ruins of Chichen, their precocious date of 1843, and especially their production in New Orleans, Kabah, Zayi, and Uxmal, with numerous illustrations. He had been anticipated in these fascinating paintings document the first awakening of the “archaeological this pioneering effort by John Lloyd Stephens (1805-1852), whose similar Incidents epidemic” of public interest in the Pre-Columbian Americas. of Travel in Central America, Chiapas, and the Yucatan (reflecting a particularly References: B.M. Norman, Rambles in Yucatan, New Orleans and Philadelphia, 1842/1843, pp. 111,115; intrepid expedition of 1839-40) had been published in New York in September of V.W. von Hagen, Frederick Catherwood, Archt., 1950; C.W. Ceram, Gods, Graves, and Scholars, New 1841; it and Stephens’ Incidents of Travel in the Yucatan (expedition of 1841-42, York, 1952, pp. 337-356; Encyclopædia of New Orleans Artists, 1718-1918, Historic New Orleans Collection, 1987, pp. 375-376. published March 1843) had both been memorably illustrated by engravings after W denotes the lot is illustrated at


248. A Rare New Orleans Coin Silver Brandy Warmer, David Melville, wc. New York, 1835-1849, New Orleans, 1846-1860, marked “MELVILLE & Co” in rectangle; squat bulbous form with turned wood side handle, hinged spout cover, the removable cover with turned wood urn finial having a silver tip, height 5 3/8 in., length 11 in., weight approx. 10.70 troy ozs. $4000/6000 Reference: Crescent City Silver, pgs. 122 & 126.

W 249. A Set of Eight Antique French 1st

Standard Silver Gilt Citrus Spoons, marked “BOURDON” below a crown and above a pallet in a lozenge, rococo scroll pattern, engraved initials on obverse, length 5 7/8 in., weight 6.15 troy ozs. $250/350 W 250. A Coin Silver Beaker, unmarked,

raised slightly curved cylindrical form with script engraved initials and “Premium 1825”, height 3 1/8 in., weight 2.80 troy ozs. $300/500 246

246. James Guy Evans (English, b. 1810; active New Orleans, 1843-53), “The Aurelia, Juan Netto, Captain”, 1852, oil on canvas, signed lower right, dated and inscribed “Aurelia su Capn Don Juan Netto año 1852” lower center, 29 in. x 36 in., attractively framed. $10000/20000 Note: James Guy Evans worked throughout many ports in the South; he is also known to have spent time in the Caribbean, particularly in Cuba, which is the location of this painting. Here the Aurelia sits in the port of Havana; the Morro Castle lighthouse, built in 1846, is depicted in the background. The Aurelia, whose captain was Juan Netto of Mahon, Minorca, Spain, is documented to have set sail from Barcelona and to have arrived in New Orleans on November 14, 1853. Havana was a common stop on the long voyage from Europe to New Orleans and there exists a long history of crossover between the two cities; in fact, New Orleans is often referred to colloquially as “the northernmost Caribbean city.” The link that this painting represents between Cuba and America is particularly poignant at this time when current events are allowing more Americans to visit the country which once had such a close connection, both logistically and culturally, to New Orleans.


Reference: “New Orleans Passenger Lists.”

247. American School, late 19th c., “The Battle of Galveston: Capture of the USS Harriet Lane by the CSS Bayou City and Neptune”, oil on canvas, inscribed “Civil War Naval Battle between U.S. Gun Boat and Two Confederate Boats, the Bayou City and Neptune Sinking” lower right, 20 3/8 in. x 33 1/4 in., framed. $4000/6000 248


251. A New Orleans Coin Silver Ewer, “Hyde & Goodrich”, c. 1835, marked Hyde & Goodrich in rectangle and with two small touch marks on the footrim, marked indistinctly on underside of body. $4000/6000


W 252. A

Sheffield Plate Bottle Stand, with a central scroll handle, gadroon border and raised on three ball feet, fitted with three matching bottles, height 12 1/2 in.


$600/900 253. A Pair of American Gilt Decorated, Glass and Gilt Bronze Rhyton Garniture Vases, mid-19th c., ruffled rims, gilt bronze stag head mounts, white marble plinths height 7 3/4 in., width 8 1/4 in. $600/800 255 254. François Bourdilliat (French, 19th c.), “Portrait of Madame Hanoteau”, 1832, oil on canvas, signed and dated mid-left, 8 1/2 in. x 6 1/2 in., in a later frame. $500/700


255. A New Orleans Coin Silver Pitcher, Hyde & Goodrich, c. 1850, marked on bottom “HYDE & GOODRICH” in a rectangle, octagonal pyriform body having straight sided neck and spout, applied molded border on rim at shoulder and at foot, hollowcast double scroll handle engraved in script “To/ Lillie Longworth Ward/ from her/ Father” within a reserve formed by repoussé chased scrolling grapevines, leaves and grapes, height 7 3/8 in., weight 18.20 troy ozs. $1200/1800 256. A Group of Six Antique American Silverplate Figural Napkin Rings, late 19th c., by various makers, two mounted with posey holders, two with birds, one with cherries and one with butterflies.


$1200/1800 W denotes the lot is illustrated at


258. A Large American Aesthetic Silverplate Two-Handled Oval Serving Tray, Gorham, 3rd quarter 19th c., chased and engraved flat surface surrounding a vacant oval reserve, cast satyr mask decorated handles, raised on four supports, length 38 in., width 22 1/2 in. $600/800


259. An American Coin Silver Repoussé Tea and Coffee Service, S. Kirk & Sons, Baltimore, c. 1846-1861, including a teapot, coffee pot, kettle, sugar and creamer, each of footed vase form, approx. weight 143 troy ozs. Note: “Estate” condition.

258 (detail)

$5000/7000 260. An American Coin Silver Partial Flatware Service, Newell Harding, Boston, c. 1830, in an “Olive” variant pattern, including 12 dinner forks, 2 dessert spoons, 11 teaspoons, 2 tablespoons and 1 serving spoon, total weight 37.65 troy ozs. (28 pcs.) $1200/1800 W 261. A Set of


Seven Sterling Silver Salts, William Spratling, Taxco, c. 1931-1945, each having a raised circular bowl with everted rim, mounted on a square base, height 1 in., base 1 3/8 in. square, weight 5.35 troy ozs. $400/600 W 262. A Group of Antique Silver Serving

Pieces, including a Wood & Hughes sterling silver berry spoon, “Louvre” pattern, ret. A.B. Griswold, New Orleans, monogrammed “MEJ”; a Wood & Hughes coin silver master butter knife, “Fan” pattern, pat. 1864; a Whiting “Arabesque” pattern sterling serving spoon, pat. 1875, intertwined monogram “LAW”; and an Aesthetic hollow-handled pie knife, “as is”, (4 pcs.) $300/500 260

W 263. A Pair of Gorham “Cinderella” Pattern

Sterling Silver Goblets, date mark for 1926, height 6 5/8 in., weight 11.60 troy ozs. W 257. A Pair of Mexican Sterling Silver Horseman’s Spurs, 19th c.,

unmarked, each fitted with a small wheel (rowel), a “peso” coin, silver chains and buckles, weight 7.75 troy ozs. $400/600

$300/500 264. An Antique Tiffany & Co. Sterling Silver Gravy Boat, 1870-1875, in the Neo Grec taste, monogrammed “EMS”, height 5 3/4 in., length 11 in., weight 14 troy ozs. $800/1200




265. A Pair of American Federal Giltwood Wall Brackets, c. 1810, D-form molded shelf, with scroll and acanthus support, height 9 in., width 8 1/4 in., depth 5 1/2 in. $300/500 266. An American Federal Cherrywood Linen Press, late 18th c., Mid-Atlantic, cove molded stepped cornice, shaped paneled doors, fluted chamfered corners, the lower case with three graduated drawers, molded base, tall shaped bracket feet, height 81 in., width 50 1/ 2in., depth 21 in. $2000/3000 267. An American Classical Mahogany and Gilt-Stenciled Sofa, early 19th c., Philadelphia, scrolled crest with arrow motif stenciling, volute and gadroon terminals, padded round arms, arch uprights, beaded molded seat rail, half-round feet, bearing the stenciled label of “C.H. & J.F. White Cabinet Warehouse 107 & 109 Walnut St. Phila.”, height 34 1/2 in., width 84 in., depth 33 in.



$1500/2500 Note: Brothers Charles and John White operated a cabinet shop at 107-109 Walnut Street in Philadelphia from 1828 to 1851. A chest of drawers bearing a stenciled label identical to that seen here was sold by Neal Auction Company, February 2, 1990. 268. An American Classical Mahogany Library Armchair, early 19th c., possibly Duncan Phyfe & Son, New York, tall scrolled padded back, padded arms with lappet carved scrolled supports, reeded and turned legs, brass cup casters. $1200/1800


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269. Henry Walke, USN (American, 1809-1896), “The Landing at Tabasco”, c. 184748, watercolor on paper, unsigned, titled and inscribed on original mat, sheet 13 1/4 in. x 22 1/8 in., attractively matted and framed. $30000/50000 Exhibited: National Gallery of Art, Smithsonian Institution, Washington, DC, “American Battle Painting”, Summer 1944; Museum of Modern Art, NYC, “American Battle Painting”, September 26-November 1944; The United States Naval Academy Museum, Annapolis, MD, “The Legacy of Two Admirals: John A. Dahlgren (1809-1870) and Henry Walke (18091896), A Special Exhibition”, MayAugust 1974. Literature: “Naval Engagement at New London,” Art News (1 April 1943), p. 20; Magazine of Art (March 1943), p. 108; The United States Naval Academy, The Legacy of Two Admirals: John A. Dahlgren (1809-1870) and Henry Walke (1809-1896), A Special Exhibition, catalog number 48. Note: A war hero and decorated admiral for the United States Navy during the mid-1800s, Henry Walke participated in many of the most important historical battles over the course of several wars during his long career. During the Mexican War, Walke participated in the captures of Vera Cruz, Tuxpan, and Tabasco, all expeditions led by Commodore Matthew Perry. This water­color of the American troops landing at Tabasco, at the height of the MexicanAmerican War in 1847, demonstrates that Walke’s skills were not limited to military prowess. Because of his position in the Navy, Walke had singular access to scenes such as this one, which few professional artists would have been able to witness first-hand. This scene captures a pivotal moment in the landing at Tabasco when American troops, led by Commodore Matthew Galbraith Perry, have begun to leave their boats and commence the steep climb up the bank. The American flag is just visible at the crest of the hill, a symbolic indication of the outcome of this particular battle, in which the United States captured the Mexican city. Walke evokes both the discipline and the confusion of battle, as soldiers disembark the boats in perfect rank, chaotic fighting is depicted just beyond the crest of the hill.



270. Robert Hopkin (American, 18321909, active New Orleans c. 1883), “Mississippi River View with Paddlewheeler, probably Louisiana”, c. 1883, oil on canvas, signed lower right, 12 in. x 18 in., in a period frame. $2500/3500


Note: Robert Hopkin was a native of Scotland who immigrated to the U.S. in 1843 and settled permanently in Detroit. In 1853 he opened his own studio. Traveling often, Hopkin decorated the interiors of passenger steamboats, churches and buildings in New Orleans, Denver and Detroit, among other cities.

One of his major accomplishments was the decorative interior of the New Orleans Cotton Exchange which comprised murals depicting the exploration of the Mississippi River. This project was prompted by the Cotton Centennial Exposition of 1884, which commemorated the centennial of the first shipment of cotton from the U.S. to England and was held in New Orleans, at least in part to advertise the city’s commercial revitalization following the end of the Reconstruction era. In the Mississippi River scene offered here, a cabin on the batture is depicted in the foreground while a paddlewheeler plies the waters of the river beyond. Reference: Encyclopaedia of New Orleans Artists 1718-1918, The Historic New Orleans Collection, 1987.



271. Arthur Fitzwilliam Tait, N.A. (American, 1819-1905), “The Fold”, 1904, oil on canvas, signed “A.F. Tait, N.A., N.Y.” lower right, signed, titled, dated and inscribed “(C.M.)... Ludlow Park/ Yonkers, NY.” en verso of original backing board, 14 1/4 in. x 22 1/4 in., in an ornate giltwood frame. $10000/15000 272. Charles Warren Eaton (American, 1857-1937), “Haystacks, Thompson, Connecticut”, 1889, oil on canvas, signed and dated lower left, 17 in. x 21 in., framed. $5000/7000


273. An American Gilt Lacquered Brass and Bronze Hanging Solar Lamp, c. 1860, Hooper & Co., Boston, relates to item Nos. 498 & 332 in the 1850 catalogue, font on circular bracket with three foliate arms suspended by chains, period etched and cut shade and chimney; retaining E.F. Jones #3 Burner, original surface, height 28 in., diameter 12 in.


274. An American Gilt Lacquered Brass and Bronze Miniature Sinumbra Lamp, 19th c., columnar shaft, square base, cut and etched shade, overall height 18 1/2 in. $2000/4000 W 275. A Set of Five American Blown Glass Smoke


Bells, early 19th c., suitable for use as bell jars, height from 7 1/2 in. to 11 3/8 in.

Reference: Gowit, Gerald 19th Century Elegant Lighting 2002, pp. 32 & 33.


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278. An American Federal Carved Mahogany Breakfast Table, c. 1815, Philadelphia, possibly Joseph Barry, drop-leaf top, the frieze with one drawer and pendant drops, beehiveturned pedestal, arched molded sabre legs ending in acanthine brass caps, casters, height 29 in., width 40 in., depth 24 in.


$1000/1500 Note: The beehive turning on the present lot relates closely to several examples including a signed sideboard, desk, polescreen and candlestand attributed to Barry. Reference: See Fennimore, Donald L. and Trump, Robert T. “Joseph B. Barry, Philadelphia Cabinetmaker” The Magazine Antiques May 1989: p. 1214 pl. III, p. 1218 pl. VIII, p. 1223 pl. XIV, and p. 1225 fig. 8, respectively.



276. An American Classical Giltwood Mirror, early 19th c., split baluster frame, fleurde-lis corners, retaining bright lemon yellow gilt surface, height 47 in., width 31 in. $800/1200

277. A Set of Four American Classical Carved Mahogany Side Chairs, c. 1815, New York, attributed to Duncan Phyfe, tablet crest, pierced medial rail, slip seat, saber legs, height 32 in. $4000/6000 Note: These chairs are apparently identical to chairs attributed to Phyfe at the Edison Institute, Henry Ford Museum, Dearborn, Michigan and relate to those in a suite of eighteen dining chairs made by Duncan Phyfe for Charles March and conserved by the Vanderpoel House of History in Kinderhook, New York. The front legs on the lot offered here and the Edison Institute chairs are highly carved in contrast to the finely reeded sabre legs on the March examples. Reference: McClelland. Duncan Phyfe and The English Regency, 1795-1830. pl. 165 and pl. 270 pp. 283-286.



279. An Important American Classical Cast Iron Armchair, mid-19th c., signed “Robert Wood...Philadelphia” on seat rail, lyre back, floral crest rail, intricate scrolled arm supports, geometric openwork seat, cabriole legs joined by X stretcher. $2500/3500 Note: This rare cast iron armchair is the only illustrated example in Horner’s Blue Book of Philadelphia Furniture.

280. William Couper (American/Norfolk, 1853-1942), “Evangeline”, marble bust, dated and signed “1881—Wm. Couper— Florence” on rear truncation, height 21 1/4 in. $7000/10000 Note: This very important marble bust is more fully inscribed than other versions, having the year and place of its creation discreetly carved on the narrow border of the rear truncation (certain versions carry the title “Evangeline” as well as the sculptor’s name). In 1848 the artist’s father founded the Couper Marble Works, a stone importing business in Norfolk, where young William received his first training from immigrant Italian workmen. From 1872 to 1874—that is from the ages of nineteen to twenty-one—he studied at the precursor of the Cooper Union in New York, then in 1874 traveled to Munich (to attend the Academy of Fine Arts) and in 1875 to Florence, where he was accepted into the circle of the famous American expatriate sculptor Thomas Ball (1819-1911), whose daughter Eliza he shortly married (as had been ruefully predicted by his rival, Daniel Chester French, in 1876). The “Evangeline” is a deservedly celebrated masterpiece, carved when he was only twenty-eight (he took it for exhibition in Paris and London in 1885, and the model was sold from Tiffany & Co. in New York from that date). It is, of course, based on the long poem in archaic meter (1847) by Henry Wadsworth Longfellow (1807-1882), about the forced separation on the eve of their wedding of Evangeline Bellefontaine and Gabriel Lajeunesse, and the lifelong travels of the heroine in search of her lover, whom she locates only to have him die in her arms. It is often considered the greatest of all Longfellow’s works, and “one of the most affecting poems in the language;” Couper’s inspired rendition of its protagonist justly achieves an image of that “affection that hopes and endures and is patient.” Fair was she to behold, that maiden of seventeen summers. Black were her eyes as the berry that grows on the thorn by the wayside, Black, yet how softly they gleamed beneath the brown shade of her tresses! References: Thomas Davidson, “Longfellow”, Encyclopedia Britannica, 11th ed., 29 vols., Cambridge, 1911, vol. 16, pp. 977-980; G. E. Couper, An American Sculptor on the Grand Tour: the Life and Works of William Couper, Los Angeles, 1988, pp. 34, 40, 76, 83, and fig. 49; excerpt from “Evangeline” by Henry Wadsworth Longfellow.


281. Louis-Marie Moris or Morise (French, 18181883), equestrian Bronze of The Emperor Napoleon on Horseback (Study for a Monument?), c. 1857, signed “Morise” on top of terrasse between hind feet of horse, with very fine and clear foundry seal between forefeet, reading “BRONZE GARANTI AU TITRE. PARIS.”, height 25 in. $5000/7000 Note: A pupil of the famous Jean-Jacques [called James] Pradier (17901852) and the lesser-known Justin Lequin (1826-1882), Morise was very strongly influenced for this beautiful design by an exactly parallel monument conceived by Alfred-Emilien Comte de Nieuwerkerke (18111892), who was so distinctly a favorite of Napoleon III (1808-1873, reigned 1852-70) that he became successively Director-General of the Museums of France (1848), a member of the Académie des Beaux-Arts and the Institut de France (1853), and finally Surpintendant des Beaux-Arts Impérials (1863). Nieuwerkerke’s great Equestrian Monument to Napolèon I (1854) stands in the center of the former Place d’Armes (now the Place Napoléon) at La Roche-sur-Yon, in the Atlantic province of Vendée; later table-sized reductions of it (10 in. h.) also exist. Since Morise’s version of the same theme—which is two-and-a-half times the size of the reductions—differs only in the horse’s raised head and unbound tail (and his shifting of the reins to the grand empereur’s right hand, while his left holds a spyglass), it cannot be coincidental that Nieuwerkerke’s Napoleon dates from 1854, and Morise made one of his rare appearances at the Salon in 1857. His splendid equestrian group—which must have been issued in a very small edition—was nearly identically copied, interestingly enough, in a slightly smaller bronze (h. 20 in.) of The Duke of Wellington on Horseback, attributed to Sir Joseph Boehm, R. A. (1834-1890).


References: Bénézit; The Fine Art Society, Gibson to Gilbert: British Sculpture 1840-1914, London, 1992, p. 52, no. and pl. 4; Suzanne Gaynor, “Nieuwerkerke,” Grove Dictionary of Art, Jane Turner, ed., 34 vols., London, 1996, vol. 23, pp. 126-127; Edward Horswell, 200 Years of the Horse in Bronze, Sladmore Gallery, London, 2000, p. 9, fig. 5.

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283. A George III Carved and Inlaid Mahogany Linen Press, c. 1790, lancetcarved cornice above two doors having mitred molding and oval figured mahogany veneered panels and conch shell inlay, the base with two short and two long graduated drawers with crossbanding, rosette inlay throughout, shaped bracket feet, height 81 in., width 49 1/2 in., depth 24 in. $6000/9000


282. An Irish William IV Carved Mahogany Armchair, early 19th c., the bead molded frame with curved back and lion’s head crest, padded arms terminating in lion’s masks, beaded rail, reeded tapering legs, brass cuff casters signed “H.W. Auster Birm’m”. $1000/2000


284. A Federal-Style Carved Mahogany Sofa, early 20th c., in the manner of Samuel McIntire, Salem, Massachusetts, cupid’s bow crest with raised panel having eagle and swagged floral carving, above a fluted and rosette carved frame terminating in leaf carved hand rests, baluster arm supports above blocked, turned and reeded legs, height 39 in., width 72 in., depth 27 in. $2000/3000

285. A Fine American Classical Carved and Inlaid Mahogany Games Table, New York, foldover top with brass inlaid edge; on ring-turned and pineapple carved supports joined by an incurvate stretcher, acanthine paw feet, casters, height 29 in. width 36 in. depth 18 in. $2500/3500 Note: The carved supports, incurvate plinth and distinctive paw feet on this table relate closely to a games table made by Duncan Phyfe for the Brinckerhoff family, those on a worktable bearing Phyfe’s label at Winterthur, and interestingly, a breakfast table from a New York cabinet shop in the Yale University Art Gallery. The sophisticated figured veneer and brass stringing on this table is nearly identical to that on a games table attributed to Duncan Phyfe illustrated in Stuart Feld. Of the Newest Fashion. p. 24, figs. 15a-b. Reference: Sloane. “A Duncan Phyfe Bill and the Furniture it Documents”, Magazine Antiques. (May, 1987), p. 1111, fig. 6. Montgomery. American Furniture of the Federal Period. pp. 409-410; Tracy. Classical America 1815-1845. fig. 44.

286. A Pair of Fine American or English Classical Gilt Bronze Seven-Light Figural Candelabra, c. 1835, each standard modeled as intertwined classical maidens, holding aloft a collar modeled with grape clusters, issuing floriform supports, the raised pedestal on a quadripartite base with egg and dart border, height 31 1/4 in., diameter 14 in. $6000/8000 Note: The pair presented here closely relates to a pair illustrated in 19th Century America: Furniture and Other Decorative Arts, Metropolitan Museum of Art, New York Graphic Society, 1970, fig. 86. 287. An Antique French Carved Blue John Cassolette, urn form on a stepped plinth base, height 12 1/2 in., diameter 4 in. Note: Socle restored.


$2500/3500 288. A Fine George III Ebonized and BrassMounted Striking and Musical Eight-Day Table Clock, c. 1765, Stephen Rimbault, London, brass bound bell-top with handle and pineapple finials, front and rear brass-lined doors with engraved brass quarter frets, the sides with brasslined glazed panels, caryatid mounts to all chamfered corners, plinth base with bracket feet, dial with foliate spandrels and silvered Arabic and Roman chapter ring, the matte center with mock pendulum aperture, date square and applied silvered plaque signed “Stepn. Rimbault/ London”, the arch with subsidiary dial for strike/not strike lever, the three-train fusée movement with hour strike on single bell and striking the quarter and hourly music on a nest of eight bells, the heavily engraved backplate with foliate scrolls, birds, and a bouquet, with pendulum holdfast, height 21 in., width 13 in., depth 8 1/2 in. $15000/25000 Provenance: Collection of Paul Odendahl, New Orleans, LA. Reference: R.C.R. Barder, The Georgian Bracket Clock 1714-1830, Woodbridge, 1999. p. 97.


288 W denotes the lot is illustrated at


290. An American Classical Mahogany Work Table, c. 1830, crossbanded top opening to fitted interior, case with two short over one long drawer, brass string inlay, acanthine standard, outswept paw feet, casters, height 31 1/2 in., width 24 1/2 in., depth 16 in. 289




289. A Pair of American Gilt Lacquered Brass and Bronze Hanging Solar Lamps, 19th c., possibly H.N. Hooper & Co., Boston, identical to item No. 498 in the 1850 catalogue, each font on circular bracket with three foliate arms suspended by chains, period chimney, height 21 in., diameter 13 in. $3000/5000 Note: Similar hanging lamps were produced by Starr, Fellows & Co. as illustrated in their 1856 catalogue and by Dietz as seen in their 1860 catalogue. Reference: Gowitt, Gerald 19th Century Elegant Lighting, 2002, pp. 32 & 92.



291. An American Classical Mahogany Dressing Table, c. 1830, Philadelphia, mirror on turned supports, superstructure and case with torus molded drawers, trestle base, acanthine paw feet, casters, height 58 1/2 in., width 37 in., depth 18 in.

292. An American Federal Carved Mahogany Canopy Bed, reeded, foliate baluster posts, paneled and blocked legs ending in square tapering feet, scrolled and shaped headboard with foliate terminals, height 85 in., length 75 1/2 in., width 48 in.



293. An American Rococo Carved Walnut Center Table, mid-19th c., Boston, ink stamp “James G. Blake/ 12 Cornhill/ Boston”, the serpentine Egyptian marble top above a conforming floral carved skirt with rocaille cartouche and pendant drops on two sides, caryatid figural supports, acanthus-carved scrolled legs connected by shaped stretchers centered by floral finial, height 28 3/4 in., width 57 in., depth 43 1/2 in. $5000/7500 Note: First appearing in Boston city directories in 1848 in a partnership with Alvah Kittredge as Kittredge & Blake, James Gorham Blake is later listed in furniture and upholstery and as a furniture dealer at the 12 to 20 Cornhill address in 1851, 1852 and 1855. Interestingly, noted French émigré cabinetmaker Auguste Eliaers is also listed at 12 to 24 Cornhill in an 1851 broadside 294. An American Classical Carved Mahogany Secretary Bookcase, c. 1835, attributed to Joseph Meeks, New York, flared cornice above arched frieze with columnar supports flanking glazed doors, foldover writing surface enclosing fitted interior, three bolection molded frieze drawers over beveled doors flanked by columns, faceted and melon feet, height 97 in., width 54 in., depth 26 in. $5000/7000 Note: This secretary is nearly identical to that in figure 41 in the well-known Joseph Meeks & Sons 1833 “broadside” advertisement. Most elements on this desk 294 are very similar to those on the wellknown Meeks stenciled example at the Metropolitan Museum of Art (acc. 60.29.1). Reference: Cooper. Classical Taste in America 1800-1840. p. 211, fig. 168. Davidson and Stillinger. The American Wing at the Metropolitan Museum of Art, p. 161, fig. 249.



295. An American Classical Carved Mahogany Card Table, c. 1820, attributed to Duncan Phyfe, New York, crossbanded foldover swivel top with rounded corners, conforming skirt, tapered molded supports, arched trestle base, blocked feet, flat stretcher, casters, height 30 1/2 in., width 36 in., depth 18 in. Note: Retaining original marbled paper interior. $2000/3000 Note: The rounded corners and blocked and molded skirt and saw cut corner construction on this table are very similar to elements on several important New York games tables, one exhibited at the Metropolitan Museum of Art in 1998, another descended in a New York family, discovered by antiquarian David Petrovsky, and attributed to Duncan Phyfe . The distinctive supports and trestle base on this table are nearly identical to those in a library table, also attributed to Duncan Phyfe, illustrated in Stuart Feld. Of the Newest Fashion, Masterpieces of American Neo-Classical Decorative Arts. pp. 64-65, cat. 33. Reference: Kenny, et. al. Honore Lannuier, Cabinetmaker from Paris. p. 180, pl. 96; Northeast Auctions catalogue entry 1224, April 3, 2005; see also Sotheby’s, New York, January 20, 2005, lot 1234.

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296. An American Classical Carved Mahogany Candlestand, c. 1825, New York, turned and foliate baluster support on reeded legs, height 27 in., width 22 1/2 in., depth 19 in.

297. William Henry Buck (Norway/New Orleans, 1840-1888), “Grain Harvest, Lowlands”, 1878, after Hugh Collins (British, fl. 1868-1892), oil on canvas, signed, dated and inscribed “after Collins” lower right, with dimension in ink and “Seebold” label en verso, 30 in. x 42 in., in the original giltwood frame. $10000/15000 Provenance: Purchased from the artist, descended in the Airey family of New Orleans. According to the family, this painting was commissioned by Thomas Lyon Airey (1837-1894), a New Orleans cotton broker in the late 19th and early 20th century. Airey held several prominent positions in the cotton industry at both the local and the national level; he was a partner in the cotton firm of T.L. Airey & Co. and served as Vice-President of the Louisiana National Bank, twice as President of the New Orleans Cotton Exchange, and as President of the National Cotton Exchange of America, among others. His son, Joseph A. Airey, Sr. (1872-1949) was also a New Orleans cotton broker and lived at 555 Audubon Street. Thomas L. Airey’s daughter, Cecile (1868-1945), married John Milliken Parker (1863-1939), who served as the 37th Governor of Louisiana from 1920-1924.

$1200/1800 Note: The shaped top and finely carved standard on this stand are indicative of a superior New York cabinetmaker. Similar details are found on a console by Duncan Phyfe recorded in the collection of Louis Guerineau Myers and a games table bearing Michael Allison’s label descended in the Newcomb family. Reference: McClelland. Duncan Phyfe and the English Regency 1795-1830. p. 108, pl. 94 and p. 201, pl. 187.

Note: William Henry Buck exhibited his work at the William Seebold Gallery on Canal Street in New Orleans. Seebold, a native of Germany, was active as an art dealer in New Orleans from c. 1865 to 1920. He was one of the foremost art connoisseurs in the city, exhibiting works by local artists as well as many of the top European artists of the day. From 1879 to 1916, almost every notable artist who visited New Orleans dined at his home on Prytania Street. His gallery was a meeting place for Clague, Buck, E.B. Julio and others. Seebold’s gallery and home were the nexus of the art world in late 19th century New Orleans. Buck and his contemporaries certainly benefited from the opportunity to see the many European paintings that Seebold had on offer at his gallery as well as installed in his gracious mansion.


Reference: Encyclopaedia of New Orleans Artists 1718-1918, The Historic New Orleans Collection, 1987.




298. American School, 19th c., “Mount of the Holy Cross”, oil on canvas, unsigned, 34 in. x 22 in., in a period frame. $2000/3000 Note: The distinctive cross-shaped, snow-engorged crevasse of the Mount of the Holy Cross was first discovered in the early 1870s. Artist Thomas Moran joined an early expedition to the site in 1873. In 1876 he exhibited his “Mount of the Holy Cross” at the Centennial Exposition in Philadelphia where its exposure sparked national interest. Religious pilgrimages soon began and the majesty of the mountain inspired artists and literary works such as Henry Wadsworth Longfellow’s “A Cross of Snow”. The painting offered here is no doubt created as part of that fervor, and after the Moran which presently hangs in the Museum of the American West in Los Angeles. 299. A Pair of Napoleon III Gilt and Patinated Bronze SixLight Candelabra, c. 1870, the finial modeled as a crane on a turtle’s back, the standards as water-bearing maidens, socle signed “L.V.E Robert” for Louis Valentine Elias Robert (French, 1821-1874), molded black marble base inset with a gilt relief of classical figures and gods in procession, height 34 1/4 in., diameter 11 1/2 in. $5000/7500 300. 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. $10000/15000

299 W denotes the lot is illustrated at


303. An Italian Bronze of Silenus, late 19th/early 20th c., after the antique standard found at Pompeii, now at The Naples Museum, height 17 in. $500/800 304. An Antique French NeoclassicalStyle Carved, Gilded and Faux Marbre Trumeau Mirror, the crest centered by a rinceaux decorated urn, flanked by beribboned floral pendants above classical urns, height 67 in., width 49 in. $1500/2500 301



301. A Large French Carved and Painted Beechwood Bracket, 19th c., support in the form of a classically draped cherub, C and S scroll surround, height 49 in., width 44 in. $2000/3000


302. A French Patinated Bronze of “Diana”, 19th c., after Jean-Antoine Houdon (French, 1741-1828), inscribed “Houdon Sculpt/1767” and with a “Susse Freres” foundry mark at back of base, height 18 1/2 in. $800/1200


305. A Regency Carved Mahogany Cheval Mirror, c. 1810, ring-turned and blocked frame with ebonized decoration, lions’ head cast brass knobs, trestle base with brass cup casters, height 53 in., width 24 in., depth 20 1/2 in. $1200/1800



306. A Fine American Classical Bronze-Mounted Rosewood Side Table, early 19th c., New York, probably Charles Honoré Lannuier or Duncan Phyfe, white marble top, three inset frieze drawers, distinctive fall front mechanism at the center with two silver trays within, white marble columns and pilasters, incurvate plinth with drum terminals above carved eagle feet, turned rear feet, height 37 in., width 68 1/2 in., depth 19 in. $15000/25000 Note: Distinctive marks on the bronze ornament found on this table appear on many other mounts used by New York cabinetmakers between 1810 and 1840. Scholar Peter Kenny notes CA (or GA) marked mounts on nine pieces of furniture by New York cabinetmakers, including those by Honoré Lannuier and Duncan Phyfe. Though this foundry remains unknown, the design for one of the mounts Lannuier used is illustrated in a c. 1822 trade catalogue from Birmingham, England. The marks also appear on a suite of bas-relief allegorical figures from a pair of New York stands illustrated in Donald Fennimore. Metalwork in Early America. p. 424, fig. 299. The rose bough mounts on the two smaller frieze drawers present here are identical in form to those on a pier table attributed to Duncan Phyfe illustrated in Stuart Feld. Of the Newest Fashion, pp. 48-49. The central drop front “silver” drawer on this table reveals the original mahogany trays. This configuration also appears on a side table removed from the dining room of an historic New York City townhouse and sold by Neal Auction Company as lot 156, September 30, 2006 and two important New York side tables in a private collection. Reference: Kenny. Honoré Lannuier, Cabinetmaker from Paris, p. 170.


307. An American Classical Mahogany Card Table, c. 1815-1820, possibly Timothy Hunt, Boston, foldover swivel top, globular spiral reeded standard with drum plinth, hipped sabre legs ending in brass hairy paw feet, casters, height 28 7/8 in., width 35 3/8 in., depth 35 1/4 in. $1500/2500

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308. A Fine American Rococo Carved Rosewood Vitrine Cabinet, mid-19th c., New York, the upper case with a pierced scrolled crest, blocked molded cornice, fretwork carved and glazed door flanked by engaged columns, the conforming lower case with a shell and volute mirrored door, floral carved base, circular feet, height 93 in., width 32 in., depth 22 in.


$4000/6000 Note: The reticulated panels, restrained proportions, and exquisite carving on this cabinet are all indicative of the workshop of Alexander Roux. The pierced panels on the frieze areas of the upper and lower cases are similar to those on a rosewood desserte bearing Roux’s stencilled label sold as lot 889 in Sotheby’s Victorian International Sale, November 1, 1980. The engaged stiles and carved plinth on this lot relate closely to those on an armoire bearing Roux’s maker’s mark sold by Neal Auction Company November 4, 1988, lot 593. 309. An American Classical Carved Mahogany Armchair, c. 1830, shaped padded back, scrolled arms with stylized floriform terminals, s-scroll legs, height 36 1/2 in., width 21 1/2 in. depth 24 in.




310. A Pair of Italian Carved and Giltwood Angels, 19th c., figures depicted kneeling in supplication, one with arms crossed, the other with hands together in prayer, height 15 1/4 in. $800/1200 311. A Continental Neoclassical Mahogany Pedestal Cabinet, early 19th c., probably French, molded top, anthemion carved frieze, the door enclosing four shelves, one fitted for stemware, conforming molded base, height 56 in., width 21 in., depth 16 in. 310



312. Hippolyte François Moreau (French, 1832-1927), “Le Rêve”, bronze, cast signature and foundry mark at base, height 31 1/2 in.; together with a marble-topped fluted carved wood pedestal. $4000/6000



313. A Pair of Antique Italian Carved Marble Pedestals, 19th c., signed on one base “Prof. A. Petrilli, Firenze”, stopfluted with bellflowers, encircled with ribbons and garlands, associated tops, height 44 in., width 17 in., depth 17 in. $4000/6000 314. A Fine Neoclassical Gilt Bronze, Cream Onyx, and Blue Enameled Table à Cafe, late 19th c., probably Paris or St. Petersburg, the bronze ornaments and mounts marked “JT” in several places, pierced gallery of entwined oak and laurel leaves, Bacchic masque corner mounts flanked by two thyrsus staffs, the enameled legs encircled with laurel leaves, serpentine X-stretcher joined by a foliate mount having a thyrsus finial, acanthine cloven hoof feet, height 29 1/2 in., width 25 in., depth 17 in. $6000/8000 Note: The remarkable Algerian onyx on the top of this table is used notably in the Paris of Napoleon III and the Third Republic. This type of onyx was used on the balustrade of the grand stair at the Opera Garnier (c. 1873) and was a favored material of sculptor Jules Cantini (1826-1916). The striking blue enamel and bronze doré supports on this table, in conjunction with the semi-precious stone top, are perhaps influenced by Beaux Arts jewelry trends, particularly those of Carl Faberge. Reference: DeLassale. Identifying Marble. pp. 160-161, fig. 69.


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315. Lorenzo Bartolini (Italian, 1777-1850), “Portrait Bust of Don Camillo Borghese (1775-1832), Prince of Sulmona and Duke of Guastalla”, c. 1804-09, white marble, uninscribed, height 22 in. $12000/18000 Provenance: Joseph Napoleon Bonaparte (17681844), King of Naples 1806-8 and King of Spain 18081813; his sale, Point Breeze, Bordentown, NJ (by Anthony J. Bleeker of New York), 25 June 1847, lot 23 (p. 3 of the catalogue); probably Julia Ward Howe or a member of her family (her sister Annie Howe married Adolphe Maillard, son of Joseph Bonaparte’s secretary Louis Maillard); Fanny Gay Howe (widow of Julia Ward Howe’s son); purchased from her estate sale 1929 by J. Prescott Hall; donated by him to a mid-Atlantic museum, 1932; deaccessioned from that institution, c. 2008. Note: This superb bust is catalogued in Anthony Bleeker’s pamphlet for the sale at Point Breeze as “[No.] 23—Marble Bust of Prince Borghese, husband of Princess Pauline, sister to Napoleon, by Bartolini.” Paolina Bonaparte-Borghese is of course the subject of the most celebrated sculpture of the Neo-Classic movement, her life-size recumbent portrait (1804-8) as Venus Victorious by Antonio Canova (1757-1822), still exhibited in its original dedicated room at the Villa Borghese in Rome. She and Camillo Borghese were married on 6 November 1803 at Mortefontaine, Joseph Bonaparte’s château near Paris; Camillo became in quick succession a prince of France, 1804; a commander of the Imperial Guard, 1805; a general, then duke of Guastalla; governor of Piedmont, 1808; and a division commander in the Imperial Army, 1809. The specific group of marble busts by Bartolini in King Joseph Bonaparte’s collection—no. 20, Louis Bonaparte, King of Holland 1806-10; no. 21, Jérôme


Bonaparte, King of Westphalia 1807-13; no. 22, Félix Bacciochi (husband of Elisa Bonaparte, Grand Duchess of Tuscany 1809-14), Prince of Piombino and Lucca 1805-14; and no. 23, Prince Borghese—were all of men, and were clearly a coherent series, from which even Napoleon’s own sisters were excluded. From the dates of their and their consort’s 315 promotions, and of his own appointment in 1807 as professor at Carrara, Bartolini’s date of execution of these four male busts for Joseph Bonaparte must have been c. 1807/9, or immediately following Canova’s sublime rendering of Paolina Borghese in Rome. A native of Tuscany, Lorenzo Bartolini was trained at Florence, Carrara, and Volterra (1795) before joining the French army in 1799, and traveling to Paris to study with Jacques-Louis David (1748-1825); there he won the prestigious Prix de Rome in 1802. His many Napoleonic commissions soon followed, and culminated in his appointment under Princess Elisa Bonaparte-Bacciochi (as already Regent of Etruria) in 1807 at the Accademia di Carrara, which she reorganized as a center for the production of Imperial family statues and busts. This very spirited image of Camillo Borghese in his early thirties epitomizes the degree to which Bartolini was the true parallel and successor of Canova. The dramatic shock of hair over his forehead, and his characteristic whiskers, are also repeated in Borghese’s painted portraits (it is no accident that Bartolini’s closest artistic friend was J.-A.-D. Ingres, 1780-1867), and effectively frame the powerful yet amiable features that made this sitter a particular favorite of le Grand Empereur. References: Anthony J. Bleeker (New York), Catalogue of … Elegant Sculpture … Belonging to the Estate of the late Joseph Napoleon Bonaparte, 25 June 1847, lot 23; “Bonaparte,” Grove Dictionary of Art, Jane Turner, ed., 34 vols., London, 1996, vol. 4, pp. 298-308; Ettore Spalletti, “Bartolini,” ibid., vol. 3, pp. 294297; and Brunk Auctions (Asheville, NC), 9-10 May 2009, lot 956, for details of intermediate provenance.


316. A Pair of Antique Solomonic Carved Giltwood and Polychromed Columns, late 17th/early 18th c., Corinthian capitals, the twisted shaft carved with sunflowers and other foliate decoration, on later faux lapis bases, height 81 in., diameter 12 in. $5000/7000 Provenance: Christie’s, Milan.


317. A Continental Carved Alabaster Sculpture of Mary Magdalene, late 18th/early 19th c., height 11 3/4 in., on a socle base, overall height 14 3/4 in. $8000/12000 Provenance: Harlowe-Powell Auction Gallery, Charlottesville, VA, sale of Horace Burr Estate; thence to the present owner. Note: Although its small size and its consciously archaizing facture are somewhat reminiscent of Late Medieval / Early Renaissance altar figures by such Trecento masters as the Pisani, this very appealing Magdalene in fact has an almost exact cognate in an 18th-century St. Joseph Holding the Christ Child, probably from Puebla in Mexico, now in the Museo Franz Mayer in Mexico City (inv. no. 18—003/0057). That closely parallel St. Joseph—of which more of the lower portions are preserved—is 13 in. tall, to the 11 in. of this Magdalene; the Joseph seems to be executed either in the local Pueblan alabaster called tecali, or in a more classic (perhaps imported?) marble; and this Magdalene shares that same slight ambiguity of facture. The St. Joseph with the Christ Child was loaned in 1990 to the large and ambitious exhibition “Mexico: Splendors of 30 Centuries” at the Metropolitan Museum of Art in New York, where its catalogue entry discusses this class of small carving, as well as the widespread Mexican devotion to St. Joseph (particularly among the mendicant friars, for his character as a family man and an artisan epitomizing those virtues of poverty, chastity, and obedience to which the Franciscans were especially committed). This finely worked figure of St. Mary Magdalene holds in her left hand the ointment jar with which she traditionally anointed the dead Christ, and her elaborate draperies bespeak her high rank in the Early Christian pantheon. Reference: Mexico: Splendors of 30 Centuries, section on “Church and Convent,” New York, Metropolitan Museum of Art, 10 October 1990 to 13 January 1991, pp. 371-372, cat. no. 155, repro.

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318. A Fine Spanish Colonial Carved, Gessoed, Polychromed and Gilded Wood Sculpture of “St. John the Baptist”, late 17th/early 18th c., figure with one arm raised, the other cradling a book and lamb, retains remnants of original polychromed surface, height 67 1/2 in. $40000/60000 Provenance: Purchased c. 1971 from the antiquarian and artist Leonard Kaplan. Exhibited 1974. Private family collection, thence to present owner. Note: This superb figure is shown with his right arm raised, while the left holds a devotional book and a three-dimensional figure of the Holy Lamb. The main body is carefully carved from a large block hollowed out from the rear, in the traditional style; an old (original?) separate wooden panel closes the reverse of the figure. The joinery is exceptionally fine, especially at the standard points where stresses are usually observed, as in the upper arms; those and all related joints remain firm


and solid, still smoothly covered with their full original applications of gesso and pigment. The latter layers are quite unusually well-preserved, with subtle skintones and beautifully articulated draperies. As is customary for associated elements such as the book and the Lamb, the Colonial artist may have used for them a lighter structure such as cedar, or the wood of the coral-tree (erythrina); the drierlooking surface of those attributes suggests that their polychrome may be applied directly to the softer wood, without the full coats of gesso which so magisterially distinguish the skin tones of the Saint. The area of Colonial Mexico where this masterwork may have been carved remains to be determined: a possible origin in the province of Guanajuato (either in its capital of that name, or in the closely neighboring town of León) has been suggested. What is clear is that this grand and powerful image is a most singular and fine example of sculpture and numinously evokes the beneficent, humane character of the precursor of Christ. Reference: George Kubler and Martin Soria, Art and Architecture in Spain and Portugal and their American Dominions, 1500-1800, Harmondsworth (Middlesex), etc., 1959, 1969, et seq., esp. pp. 76-82 (pl. 34), and 164-169.


320. A Pair of Italian Carved and Polychromed Wood BasRelief Plaques of the Roman Emperors “Claudius” and “Augustus”, early 20th c., each 23 1/2 in. x 19 in., in matching wood frames.


319. A Highly Carved and Gilded Tabernacle Mirror, arched crest with fleur-de-lis reserve flanked by flower-filled cornucopiae, reliefcarved floral surround, blocked base.


$1200/1800 320

321. A Suite of Four Fine Louis XIV-Style Carved and Giltwood Fauteuils à la Reine, each with arched upholstered back, acanthus scrolled arms, upholstered seat, on blocked, carved and fluted square legs, shaped stretchers. $3000/5000 322. A Louis XVI Kingwood and Ormolu-Mounted Petite Dumbwaiter, two concentric circular tiers, the lower with folding hinged compartments, fluted tapering legs, brass capped feet, height 26 3/4 in. $800/1200


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323. An Italian Walnut Secretary Bookcase, late 18th/ early 19th c., boldly arched crest above mirrored doors, fall-front desk above serpentine case of three drawers, crossbanded inlay throughout, bracket feet, height 94 1/2 in., width 42 1/2 in., depth 21 in.

325. A Louis XVI-Style Carved Walnut and Caned Canapé, upholstered back with floral and acanthus carved crest rail, beribboned laurel carved arms, volute terminals, blocked acanthine legs, suppressed ball feet, drop in cushion, height 40 1/2 in., width 74 in., depth 31 in.



324. A Fine Pair of Restauration Carved Mahogany Bergères, early 19th c., molded rectangular back, reeded and palmette carved arms, bellflower pendants, rounded seat rail on saber legs.

326. A French Provincial Carved Fruitwood Armoire, late 18th c., stepped cornice, frieze panel with scrolled flowering vine centered by a boss, pair of arched paneled doors with fiche hinges, medial stile, two drawers below, height 89 1/4 in., width 68 in., depth 21 1/4 in.




Note: A similar pair of chairs were purchased by Dolly Madison for Montpelier. The chairs are still on view at the Montpelier House, now a National Historic Site.




329. Charles Lacoste (French, 1870-1959), “Bordeaux; Scène de Rue”, 1893, oil on board, signed, dated “Juillet 1893” and inscribed “Bordeaux” lower left, 26 3/4 in. x 18 in., in a giltwood frame. $12000/18000 Provenance: Private Collection of a noted Louisiana author; purchased in France in the 70s.


330. Samuel Colman (American, 1832-1920), “Northwest Coast of Alaska”, 1885, oil on canvas, signed lower right, “D. Wigmore Fine Art, Inc., New York, NY” label en verso, 8 1/4 in. x 16 3/8 in., in a giltwood frame. $5000/7000

327. A Louis XVI Bronze-Mounted Kingwood and Marquetry Commode, late 18th c., later marble top above two drawers, serpentine case with scalloped skirt, cabriole legs with bronze sabots, height 33 1/2 in., width 50 in., depth 25 in. $2000/3000 328. Josef Israels (Dutch, 1824-1911), “Gathering Shellfish”, 1874, oil on canvas, signed and dated lower right, 14 7/8 in. x 21 3/4 in., in an elaborately carved period giltwood frame. $15000/25000 Provenance: Succession of Harry T. Howard III. 330

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332. Alberta Kinsey (American/New Orleans, 1875-1952), “Court of Two Sisters”, oil on canvas board, signed lower right, 15 1/2 in. x 12 1/4 in., in a period frame.


$2000/3000 331. Alfred Hutty (American/Charleston, 18771954), “Sunday Afternoon, Edisto Island”, watercolor on artist’s board, signed lower right, inscribed en verso on backing board, sheet 22 in. x 28 in., in original frame. $30000/50000 Note: Born in Michigan and raised in and around Kansas City, Alfred Hutty began his career as a stained glass artist after earning a scholarship to the St Louis School of Fine Arts at age 15. In 1907 Hutty moved his family to Woodstock, NY to study painting under Lowell Birge Harrison at the summer school of the Art Students League. Working from his “Studio on the Hill” in Woodstock, Hutty painted, etched and completed stained glass commissions for Tiffany Studios. Upon first visiting Charleston on a return trip from Florida in 1919, Hutty famously wired his wife in Woodstock “Come quickly, have found heaven”. Hutty spent the next 30 years dividing his time between Woodstock and his Tradd Street home in Charleston. He was the first director and a teacher of the School of the Carolina Art Association and a founding member of the Charleston Etchers Club.

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Hutty’s work flourished in Charleston. The move breathed new life into his etchings and drypoints and he painted romanticized though accurate views of African Americans and the crumbling buildings of the port city. Among his best work from this period are his views of the residents of the sea islands surrounding Charleston.

333. James Lamantia (American/New Orleans, 1923-2011), “Diptych, Landscape”, 1989, two oils on canvas, each signed and dated en verso, each 18 in. x 30 in., overall 18 in. x 60 in., unframed.

Edisto Island to the south was a particular favorite with its agrarian lifestyle set against the Spanish moss-draped live oaks and rich Gullah heritage. “Sunday Afternoon, Edisto Island” is particularly charming with its depiction of the bustling congregation arriving for a service with a sand dune and the Atlantic Ocean glistening in the background. Hutty often illustrated the rivers and marshes but rarely did he incorporate the seashore into his work. Hutty also created a similar scene as a drypoint omitting the ocean.

Note: James Lamantia was a noted architect, artist and Emeritus Professor of Architecture at Tulane University. A graduate of Tulane and Harvard Universities and a Rome Scholar, Lamantia worked in architectural firms in both New Orleans and New York. Lamantia was also an accomplished painter; he exhibited his work at the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Chicago Art Institute among others. Most recently he was represented by Galerie Simonne Stern in New Orleans. Lamantia also owned the 539 Gallery in New Orleans, which specialized in Piranesi prints.

Reference: Saunders, Boyd and Ann McAden. Alfred Hutty and the Charleston Renaissance. Orangeburg, SC: Sandlapper Publishing Company, 1990. Severens, Martha. The Charleston Renaissance. Spartanburg, SC: Saraland Press, 1998.




334. Simon Gunning (Australian/New Orleans, b. 1956), “Great Blue Heron”, 2009, ink on canvas, signed lower right, “Arthur Roger Gallery” label en verso, 30 in. x 40 in., framed.


335. Virginia B. Woolley (American, 1884-1971), “New Orleans Courtyard”, 1927, oil and pencil on paper, signed and dated lower right, 5 3/4 in. x 4 3/8 in., matted and framed.


$700/900 336. Wayman Adams (American/New Orleans, 18831959), “Restin’”, oil on board, signed upper left, titled and inscribed en verso, 15 1/2 in. x 12 in., in a period Arts & Crafts giltwood frame. $5000/7500 335

Note: A native of Indiana, Wayman Adams spent the winters in New Orleans from 1916 to 1924, and again during the 1930s. A student of Robert Henri and William Merritt Chase, he brought the rich palette and texture of American Impressionism to the subjects he painted in New Orleans. While Adams painted portraits (including New Orleans Mayor Martin Berhman), his best work in New Orleans depicts African American women and children, often framed in doorways and on balconies in the French Quarter. In the brilliantly colored composition offered here, Adams paints a woman and her young child seated in a doorway. The bright blue door frame and hot, red ground intimate the strong sun against the dark interior. 337. Paul Ninas (American/New Orleans, 1903-1964), “Wharf Scene with Boat and Building, probably Biloxi”, c. 1935-40, pastel on paper, unsigned, sight 9 1/2 in. x 12 1/2 in., matted and framed. $3000/5000 Provenance: Collection of a New Orleans Lady, acquired from the artist.

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338. William Woodward (American/New Orleans, 18591939), “SS Atenas Moored at Old Havana Harbor”, c. 1920-21, oil on canvas, unsigned, 30 in. x 24 in., framed. $75000/125000 Provenance: Descended in the family of a prominent merchant marine and Naval Captain who served aboard the SS Atenas. Thence to a private collection. Note: William Woodward was the most important painter in New Orleans and the Gulf Coast in the early 20th c. In 1920, he was commissioned to paint a 15 foot diameter mural to cover the entrance rotunda of the United Fruit Company Building located at 321 St. Charles Avenue. The eleven-story ornately ornamented building cost a million dollars to construct, a considerable sum at the time. Woodward’s mural was featured on the cover of the July 1921 issue of New Orleans’ Illustrated News which had an extensive article on the new building. The Item Magazine of Dec. 18, 1921 described the mural as “a wonder of flashing blues and scarlets and golds haled from the tropics….” The easel painting offered here is a nearly exact example of the mural which depicts a view of the S.S. Atenas moored in Havana Harbor. Woodward and his wife Louise traveled on the S.S. Atenas, a luxuriously appointed company liner for


the United Fruit Co., which transported passengers as well as bananas. They enjoyed a two week cruise, visiting Havana, Kingston, Bocas del Toro and Cristobal, Panama, during which time Woodward made oil studies to aid him in the creation of his large mural. These works were shown in the Annual Art Association of New Orleans Exhibition in the spring of 1921. The vivid and beautifully painted composition offered here is framed by tall majestic palm trees with the distinctive lighthouse of the Morro in Havana harbor in the background on the right side. A varied and colorful crowd of figures is active on the shore while several small boats ply the water around the impressive ship. Bananas, pineapples and mangoes are among the fruits depicted, a direct reference to the United Fruit Company’s business interests in the region. The United Fruit Company, founded in 1899, flourished in the early and mid-20th century and came to control vast territories and transportation networks in Central America, Colombia, Ecuador and the West Indies. Shortly after his completion of the mural, Woodward suffered a spinal injury which hampered his ability to travel. Despite his confinement to a wheelchair, he remained a prolific artist. Reference: Bragg, Jean and Susan Saward, Painting the Town: The Woodward Brothers Come to New Orleans, New Orleans: Jean Bragg Gallery, 2004.

339. George Henry Clements (American, 1854-1935), “St. Cloud, Along the River”, watercolor, signed and inscribed “St. Cloud” lower right, 9 1/2 in. x 11 1/2 in., framed. $1200/1800 340. Simon Gunning (Australian/New Orleans, b. 1956), “Bayou Coquille - Study”, conte crayon on paper, signed lower center, 41 in. x 29 in., framed. $3000/5000



341. William Woodward (American/New Orleans, 1859-1939), “Spanish Cabildo and Stocks, New Orleans”, Raffaelli oil crayon on board, signed lower right, titled lower left, pencil-signed and inscribed on the original framing back en verso, sight 13 1/2 in. x 9 in., attractively framed. $20000/30000 Provenance: Descended in the family of the artist; private collection, New Orleans, LA. Note: In 1895, the historic Cabildo was in a state of decay and was slated for demolition. William Woodward, one of the early proponents of preservation efforts in the Vieux Carré, led a successful campaign to have the building preserved and restored. In 1911, the building became the home of the Louisiana State Museum. The stocks shown in this view of the Cabildo are no longer in existence. Reference: Please see p. 70 of William Woodward: American Impressionist by Robert Hinckley for a nearly identical view of the Spanish Cabildo and Stocks


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342. Nell Choate Jones (American/Georgia, 1879-1981), “Country Scene in Georgia”, mixed media on paper, signed lower right, with two “The Charleston Renaissance Gallery, Charleston, SC” labels en verso, and signed and titled on old backing board affixed en verso, sight 20 in. x 16 in., attractively matted and framed.


344. Marie Atkinson Hull (American/Mississippi, 1890-1980), “Mountain Landscape-Autumn”, oil on board, signed lower left, 10 1/8 in. x 14 in., framed. $2000/3000


Provenance: Descended in the family of noted Mississippi art collector Bitsy Irby.

343. William R. Hollingsworth, Jr. (American/Mississippi, 19101944), “Scrugg’s Palace, Old Canton Road”, 1943, watercolor on paper, signed and dated “Mar. ‘43” lower right, signed, titled, dated and inscribed en verso, 15 3/4 in. x 23 in., attractively matted and framed.

345. Alberta Kinsey (American/New Orleans, 18751952), “Woman in the Courtyard”, oil on canvas board, signed lower left, 18 in. x 12 5/8 in., in a period frame.

$5000/7000 Provenance: Descended in the family of noted Mississippi art collector Bitsy Irby.





347. William S. Robinson (American/Mississippi, 1861-1945), “Steamboat Landing, Natchez”, 1943, oil on academy board, signed lower right, titled and dated “Jan 13-43” en verso, 9 1/8 in. x 13 1/4 in., attractively framed. $6000/8000


346. Clementine Hunter (American/Louisiana, 1886-1988), “Wash Day with Clementine Painting”, c. 1955, oil on board, monogrammed lower right, inscribed by owner en verso, 20 in. x 24 in., attractively framed.

Note: William S. Robinson was an important member of the Old Lyme Art Colony in Lyme, Connecticut in the early 20th century. Following the death of patron Florence Griswold in 1937, Robinson left Old Lyme and relocated to Biloxi, Mississippi, at the recommendation of his friend, noted New Orleans artist William Woodward. He continued to create impressionistic landscapes, trading the Connecticut scenery for the charming images of shrimp boats and Southern shanties. The painting offered here, “Steamboat Landing, Natchez”, is a muted, softly rendered view of a dock building along the banks of the Mississippi River with a steamboat underway on the left. Dating to 1943, this painting is a rare impressionist and documentary view of the river in Natchez during this time period.

$8000/12000 Provenance: Purchased from the artist in 1955, Natchitoches, Louisiana; accompanied by a copy of a letter written to the owner and photograph taken at Melrose Plantation in 1955. Note: The early painting offered here was painted before Clementine Hunter had developed her style for common themes of life at Melrose Plantation. Four women work at the laundry with a clothesline full of wash hanging along the background. What is exceedingly rare and distinctive about this work is Hunter’s inclusion of herself painting on the right side of the composition. She is shown seated, holding the canvas in her lap, which is how Hunter preferred to paint. As such, most of her paintings have paint smudges and sometimes even a fingerprint on the edges of the board on the back of the painting.

348. A French West Indies Carved Amaranth and Mahogany Grand Armoire, c. 1800 and later, probably Martinique, molded cornice above two shaped paneled doors, well articulated scalloped skirt, on cabriole legs with scrolled toes, hoof feet, height 84 3/4 in., width 58 in., depth 23 3/4 in. $5000/7500 Note: Interestingly, several elements of this armoire are closely related to those on French-influenced furniture of the 18th and 19th centuries from Haitian cabinetmakers working from Philadelphia to the various French Colonial Caribbean islands. Reference: Connors, Michael. French Island Elegance. 2006. Schwarz, Robert D. The Stephen Girard Collection. 1980. Sturm, Philip. West Indian Antique Furniture of the Lesser Antilles; 1740-1940. 2007.

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350 353 349. A Pair of Empire-Style Yellow Breccia Marble Bronze-Mounted Cassolettes, fruit finial, ram’s head handles, floral garlands, each on plinth base, height 18 in., diameter 7 in.

353. An American Gilt Lacquered Brass and Patinated Bronze Three-Piece Argand Garniture, 19th c., retailed by J. & I. Cox., New York, labeled, consisting of a dual light argand flanked by single light argands, each urn-form font atop cylindrical standard and plinth, cut and etched glass shades, electrified, height 17 1/4 in.

$800/1200 350. A Pair of Napoleon III Gilt Bronze Figural Chenets, c. 1870, boldly modeled opposing griffins, each with paw resting on Roman breastplate, on scrolled and acanthine bases, height 16 in., width 10 in., depth 5 1/4 in.



354. An American Gilt Lacquered Brass and Bronze Solar Lamp, 19th c., font on architectural standard with scrolled acanthus moldings and three engaged figures atop conforming base, cut and etched shade, chimney and crystal prisms, overall height 30 in.

351. An American Rococo Carved Walnut Child’s Armchair, 19th c., carved crest rail, shield back, padded arms, serpentine seat on cabriole legs, retaining original floral needlepoint upholstery.



355. A Baccarat-Style Cranberry Glass and Gilt Brass Lamp, 20th c., faceted font, over reeded Ionic column, height 24 in., base 6 1/2 in. x 6 1/2 in.

W 352. An American Rococo Carved Mahogany

Footstool, mid-19th c., serpentine seat, floral carved rail, foliate cabriole legs, casters, height 15 in., width 18 in., depth 18 in.


$300/500 355




356. An American Carved Cherrywood Side Table, late 18th/early 19th c., Mississippi River Valley, having a two board top, the skirt with drawer, raised on cabriole legs, retaining a fine old patina, height 29 in., width 36 1/2 in., depth 25 1/2 in. $2000/3000 W 357. A Southern Walnut

Trundle Bed, 19th c., head and footboard with rounded crests, plain rails, tapered legs, height 14 in., length 53 1/2 in., depth 22 in. $300/500 W 358. A Fine Antique

American Carved Mahogany Miniature Slant-Front Desk, the fall front opening to three drawers and fitted interior, lopers and writing slide above three long drawers, bracket feet; dovetailed construction, height 7 5/8 in., width 7 3/8 in., depth 4 3/4 in. $800/1200



360. An American Federal Carved Mahogany and Burl Inlaid Tilt-Top Candle Stand, early 19th c., shaped top, baluster support, paneled and reeded legs ending in paw feet, casters, height 30 in., width 25 in., depth 16 in. $1200/1800

359. A Pair of Cornelius and Baker Patinated “Bronze” Zinc Allegorical Figures of America and Africa, 19th c., the richly costumed personifications of freedom and bondage, on white marble socles, height 23 1/4 in. and 22 in., respectively.

Note: Two dining tables by Duncan Phyfe have carved and outswept legs similar to those on the stand offered here: one illustrated in Nancy McClelland. Duncan Phyfe and the English Regency, p. 107, pl. 93; and one in the Metropolitan Museum of Art. The distinctive carved paw feet on this table are nearly identical to those on a console also illustrated in McClelland, p. 150, pl. 130.


Reference: Davidson and Stillinger. The American Wing, the Metropolitan Museum of Art, p. 146, fig. 227.

Reference: Donald L. Fennimore. “Cornelius & Baker’s Answer to the Rage For Parlor Sculpture”. Antiques and Fine Art, Autumn/ Winter, 2010. pp 150-156, illus. p 153.

361. An American Classical Carved Mahogany Sofa Table, early 19th c., New York, rectangular marble top above an ogee molded skirt on faceted columnar supports, shaped and blocked trestle legs, medial stretcher, casters, height 29 in., width 46 in., depth 22 in. $1000/1500

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363. An American Gothic Wrought Iron and Tôle Lantern, c. 1889, rope twist iron structure, the arched window and quatrefoil panels surmounted by fleurdi-lis, retains original chain, height 51 in., diameter 23 in. $1500/2500 Provenance: Christ Church Cathedral Chapel, 2901 St. Charles Avenue, New Orleans. Sold for the Benefit of Christ Church Cathedral. Note: When Christ Church was founded in 1803, it was the first non-Roman Catholic church in the entire Louisiana Purchase Territory. The first three church buildings, designed respectively by Henry Boneval Latrobe (1816), James Gallier, Sr. and James H. Dakin (1835), and Thomas K. Wharton (1845), were all on Canal Street adjacent to the French Quarter. The fourth church building was designed by Lawrence B. Valk of New York, c. 1886, and built in the Garden District at 2901 St. Charles Avenue. Valk, who specialized in churches, published Church Architecture in 1873. The lantern offered here is an original fixture of the chapel. It was removed when the lighting was reconfigured during a renovation in the mid-20th century.


364. A Monumental Antique Scottish 30-Inch Terrestrial Library Globe, c. 1915, the cartouche reading “30-Inch/ Terrestrial Globe/ by/ W. & A. K. Johnston [A.J. Nystrom & Co., US Agents, Chicago]/ Geographers, Engravers/ and Printers/ Edinburgh & London”, the 30-inch sphere with hour dial, nickel plated meridian with degree marks, set on roller bearings, within a full rotating mount, the paper horizon band with months and zodiac, the Arts and Craftsstyle quarter-sawn oak base on molded feet, full height 54 in., full diameter 37 in. $15000/25000


362. An American Federal Inlaid Mahogany Games Table in the Hepplewhite Taste, early 19th c., Philadelphia, shaped foldover top above a burl inlaid frieze, square tapered legs, lightwood string inlay throughout, height 29 3/4 in., width 35 1/4 in., depth 17 1/2 in. $1200/1800


Note: William (18021888) and Alexander Keith (1804-1871) Johnston began as apprentices to the Scottish globe maker and publisher James Kirkwood before his workshop suffered a fire. Setting up their own workshop, they became one of the most successful globe making companies in the world. Their largest model, as seen here, made for an institution or the most prestigious of private libraries, won a 364 number of medals in the Great Exhibition. As was common in the day, the cartouche bears a small overlay label over the Johnston name from the Chicago globe retailer A.J. Nystrom, one of several Chicago retailers who imported Johnston’s globes. Interestingly, the gores for this globe bear the watermark “J. Whatman/ 1914”. Whatman, of course, being the paper used for Audubon’s Birds of America.


365. A Pair of French Renaissance Revival Gilt Bronze ThreeLight Sconces, late 19th c., the backplates cast with classical maidens and grotesque masques, scrolled candle arms, fitted for electricity, height 17 1/2in., width 12 1/2 in., depth 8 in.


$1000/1500 366. An Antique American Cast 368 Iron Fern Pattern Garden Settee, the fern form back and arms on a reticulated scrollwork seat, outswept bracketed legs, height 33 in., width 54 in., depth 20 in.


$1500/2500 367. A Pair of Antique American Cast Iron Fern Pattern Garden Armchairs, the fern form back and arms on outswept bracketed legs, height 32 1/2 in., width 24 in. $1200/1800 368. An American Bronze Bust of “Alfred Holland Smith (1863-1924)”, President of the New York Central Railroad, unsigned, inscribed “Alfred H. Smith/1863-1924” at back of neck, height 27 in. $1500/2500 369. A Late George III Carved Mahogany and Inlaid Bowfront Chest, 19th c., three graduated drawers, shaped base on “French” feet, height 35 in., width 40 in., depth 21 in.



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372. A Fine Pair of English Inlaid Satinwood Games Tables, 19th c., in the Adam taste, overall bellflower motifs, shaped foldover top with lightwood central segmented fan patera and mahogany edge; tooled leather playing surface, skirt with alternating panels of rosewood and satinwood, swagged urn; square tapered legs, spade feet, height 29 1/2 in., width 36 1/4 in., depth 18 1/2 in. $8000/12000

370. A Georgian Carved Mahogany Library Chair, 18th c., rectangular back, flared arms with Greek key carving, blind fretwork carved legs connected by pierced stretchers.

371. A Pair of Georgian-Style Inlaid Mahogany Kettle Stands, banded octagonal top with slide beneath, raised on square tapered legs connected by a banded stretcher shelf, height 30 in., width 14 7/8 in., depth 11 1/2 in.

373. A Regency Carved Rosewood Center Table, early 19th c., circular tilt top, lotus-carved support with rope turned collar, incurvate plinth, leaf carved paw feet, casters, height 28 3/4 in., diameter 49 1/2 in.








377. A Pair of Decorative Silverplate Figural Wine Trolleys, each with two coasters with foliate rim and mounted with a cherub, turned hardwood base, set atop a four wheel movable wagon with hinged handle.


374. An Antique American or English Mahogany Étagère, mid-19th c., having four tiers, medial drawer, turned supports, toupie feet, brass ferrules, casters, height 53 in., width 24 1/2 in., depth 18 in.





375. A George III Carved Mahogany Dining Table, c. 1785-1790, demilune ends and drop-leaf center section, square tapering legs, height 28 in., open length 108 in., width 42 in. $1000/2000 376. A Georgian Sterling Silver Oval Entree Dish and Cover, John Schofield, London, c. 1780, two-handled dish with hot water chamber, reeded borders and handles, chased strapwork encircling dish and its removable cover, one with vacant cartouche and the other with armorial, height 5 1/2 in., width 14 in., depth 8 1/4 in., weight 46.90 troy ozs.


378. An English Edwardian Sterling Silver Fish Service for Sixteen, Sheffield, 1903, maker CJA untraced, comprised of 16 fish forks and 16 fish knives, total weight 49.80 troy ozs., (32 pcs.) $1200/1800


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384. An Antique Sheffield Plate Wine Cooler, 19th c., twohandled campagna form body on a pedestal base, gadrooned rim interspersed with flowers, fitted with bottle sleeve, height 11 1/2 in. $500/750




379. A George III Sterling Silver Cruet Stand, c. 1814, probably Samuel Hennell (hallmark inverted) or Henry Sardet (mark of 1776); with 6 cut glass castors and 2 silver-mounted castors, height 10 in., length 11 1/2 in. $1800/2500 W 380. A Georgian Sterling Silver Stuffing Spoon and Marrow

Scoop, the stuffing spoon by Richard Crossley and George Smith, London, 1809; the marrow scoop London, 1749, maker’s mark rubbed, spoon length 12 in., marrow scoop length 7 5/6 in., combined weight 4.80 troy ozs.


$300/500 381. A George III Sterling Silver Tea Service, Alice & George Burrows, London, 1813-1815, mark ent. 1802, comprised of a teapot, open sugar and creamer, teapot height 6 1/2 in., length 11 in., combined weight 41.05 troy ozs. $1000/1500 382. A George III Sterling Silver Small Coffee Pot, Charles Wright, London, 1777; together with a German silver undertray, with floral and scroll chasing, both engraved with the crest of the Kingdom of Greece, pot height 9 in., tray length 8 3/8 in., combined weight 18 troy ozs. $2500/3500 383. A Fine George III Sterling Silver Teapot, Joseph Angell, London, c. 1819, with armorial crest, acanthus chasing, paw feet with anthemion petal brackets, height 6 1/2 in., length 10 3/4 in., weight 24.25 troy ozs. $1200/1800 384






385. A George III Sterling Silver Cup, probably John Landlands & John Robertson, Newcastle, c. 1790, urn-form with loop handles, height 5 1/2 in., weight 10.75 troy ozs.

387. A George III Sterling Silver Meat Dish, Paul Storr, London, 1809, oval meat dish having a shaped rim, gadrooned border with leaf at the shaped points, engraved armorials on either side, length 19 7/8 in., width 14 1/8 in., weight 81.70 troy ozs.

$500/750 386. A Victorian Sterling Silver Gilt Bachelor’s Tea Service, Robert Harper, London, 1874-1875, the elaborate design sometimes referred to in Victorian England as “Louis Quatorze”, comprising a kettleon-stand, teapot, open sugar, creamer and sugar tongs; each pear shape raised on lion mask scroll feet, bird head spouts, and vacant scroll cartouches, kettle-on-stand height 13 in., combined weight 54 troy ozs.



388. A Set of Four Sheffield Plate Telescopic Candlesticks, elaborate acanthus and shell decorated borders with scalloped base, each retains original bobêche, extended height 10 1/4 in. $800/1200

$2000/3000 389. A Pair of Antique Sheffield Plate Lyre-Form Candlesticks, early 19th c., lyre form standard on fluted oval base with reeded border, removable candlecup also with reeded border, height 13 1/4 in. $800/1200 W denotes the lot is illustrated at




391. An Antique Sheffield Plate Covered Meat Dish, Matthew Boulton, ornate domed cover fitted with removable acanthus decorated handle, gadrooned and shell border with beautiful hand-engraved crest titled “Virtus and Aethera Tendit”, the base of well and tree design with matching gadrooned and shell border with scrolled handles, original baluster form ivory handles, fully marked with double sunburst on inside cover, height 14 in., length 26 in. $2500/3500 W 392. An Antique Sheffield Plate Decanter

Stand, fitted with three diamond pattern pressed glass decanters, faceted, overall height 14 1/2 in. $400/600 W 393. A Good Pair of American Blown Glass

Decanters, c. 1803, panel cut at neck and base, simple body, faceted neck ring, and original hollow stoppers, height 12 1/2 in. 391

$300/500 394. A Regency Rosewood and Mother-of-Pearl Sarcophagus-Form Tea Caddy, c. 1825, hinged lid with original fitted interior, retains original cut glass mixing bowl, height 7 1/4 in., width 11 3/4 in., depth 6 in. $400/600 395. A Gorham “Medici” Pattern Sterling Silver Flatware Service, pattern c. 1880, monogrammed “FJ”, including 9 dinner forks, 10 luncheon forks, 10 flat handled knives with silver blades, 11 tablespoons, 12 dessert spoons, 10 teaspoons and a salad fork and spoon, total weight 114.45 troy ozs., (65 pcs.) $3000/4000


390. A Pair of Sheffield Plate Four-Light Candelabra, early 19th c., reeded twisting candlearms with shell and acanthus bobêches, candlecups and drip pans, trumpet-form shaft with gadrooned and shell circular bases, height 23 1/4 in. $2000/3000


396. A Pair of American Sterling Silver Gilt Compotes, Gorham Silversmiths, Providence, RI, 1903-1906, shallow circular center having embossed shaped rims and pedestal bases, height 3 1/4 in., diameter 9 1/2 in., weight 42.75 troy ozs. $1800/2500



403 398 401. A George IV Sterling Silver Snuff Box, Nathaniel Mills, Birmingham, 1829, engine-turned rectangular box with hinged cover, the gilt interior inscribed and dated 1829, length 3 1/4 in., weight 3.75 troy ozs.

397. A Gorham “Bamboo” Pattern Sterling Silver Salad Serving Fork and Spoon, pat. 1882, date letter for 1891, trompe l’oeil design with oyster shell bowl lashed to bamboo handle, both retain traces of gilding, spoon length 10 1/4 in., weight.

$400/600 W 402. A Decorative Silverplate


$600/800 Note: A related ice cream slice is illustrated in Carpenter, Charles. Gorham Silver, 1831-1981, p. 111, pl. 106.

W 399. A Pair of George III Sterling Silver Salts,

Thomas Shepard, London, 1784, circular with hoof feet, diameter 2 3/4 in., weight 2.5 troy ozs.

Lighthouse-Form Cocktail Shaker, marked “Royal Castle, Sheffield” on base, tapering cylindrical form with galleried lighthouse design, removable cover, height 14 1/4 in. $600/900

$300/500 398. A George III Sterling Silver Sugar Castor, London, c. 1778-1779, maker’s mark rubbed, probably George Rodenbostel or Charles Kandler, height 8 5/8 in., weight 7.95 troy ozs.

W 400. A Fine George III Crested Sterling Silver

Fish Slice, John Swift, London, 1772, pierced and curved scimitar blade having a silver-mounted turned ebonized wood handle, length 14 1/4 in. $250/350

403. A Regency Carved Satinwood and Birch Armchair, early 19th c., arched inlaid crest rail, shell and rosettecarved splat, scrolled arms, trapezoidal slip seat, on lotus-carved turned tapering legs. $700/1000


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404. A William IV Carved and Gilded Mahogany Library Table, mid-19th c., trestle base with acanthine collars and turned stretcher, scrolled feet, height 28 1/2 in., width 54 1/2 in., depth 30 in.

406. A Suite of Five Irish Carved Mahogany Dining Chairs in the George III Taste, 18th c., arched crest terminating in acanthus-carved ears, rocaille pierced splat, fluted stiles, trapezoidal seat, square molded legs, stretchers. $800/1200

$1200/1800 405. A Pair of George II Carved Mahogany Hall Chairs, c. 1760, pierced backs, plank saddle seats, splayed quatrefoil pierced supports connected by a shaped stretcher. $1000/2000 Note: This rare pair of chairs relates to chairs original to Wilton House, Wiltshire, the seat of the Earl of Pembroke. This sgabello form after Italian Renaissance prototypes is also found in elaborate painted examples at Petworth House, Sussex.


407. An Edwardian Inlaid Mahogany Secretary Bookcase, late 19th c., in the Georgian taste, having a broken pediment centered with a brass finial, astragal glazed doors enclosing adjustable shelves, slant front desk opening to a fitted interior, two short over three graduated drawers, molded base, bracket feet; the whole with extensive cornucopia, urn, bellflower swags and banded inlay, height 92 in., width 38 in., depth 21 in. $2000/3000


408. A Continental Inlaid Fruitwood Games Table, c. 1790, game board inlaid fold-over top opening to a baize-lined playing surface, swivels to reveal void interior, blocked, square, tapered legs, height 30 1/4 in., 32 3/4 in., depth 16 in. $500/750 408


W 412. Attributed to Richard Cosway (English,

1742-1821), “The Young Mozart”, watercolor miniature on ivory, signed at right edge, 3 1/2 in. x 2 3/4 in. $600/800 W 413. A Wedgwood Creamware Armorial

Platter, 19th c., with gilt and ochre diaper banding and reserved with opposing griffin crest, length 16 1/4 in., width 12 1/4 in. $300/500


409. A Louis XV-Style Carved Walnut and Needlepoint Fauteuil, 19th c., arched molded back, padded arms with volute foliate-carved terminals, scalloped floral carved seat rails on cabriole legs. $1200/1800 410. A Continental Inlaid and Figured Walnut Bombé Commode, late 18th/early 19th c., two short over two long drawers with banded inlay and bookmatched veneers, string inlay throughout, scalloped skirt, flared feet, height 32 in., width 46 1/2 in., depth 25 in. $5000/7500 411. A Monumental Antique Regency-Style Carved Mahogany Pier Table, 19th c., having a marble top above a molded frieze, monopod supports, mirrored back, fluted pilasters, molded plinth base, height 40 in., width 58 in., depth 22 1/2 in. $5000/7500

411 W denotes the lot is illustrated at


417. An Antique Pair of Gilt Bronze and Black Marble Townley Vases, late 19th c., after the Antique, presented on carved black marble bases, height 12 in., diameter 6 in. $800/1200 418. A George III Carved Mahogany Bottle Stand, late 18th c., molded dished top, shaped apron, sabre legs joined by brass stretcher, height 12 in., top diameter 7 1/4 in. $500/750



W 414. A Paris Porcelain Pot-de-

Crème Stand, early 19th c., with gilt bands, height 12 in.; together with an associated set of fifteen potde-crèmes of various forms, some with gilt highlights, height 3 1/4 in. to 3 3/4 in.; and a polychrome and gilt decorated tray, 10 3/4 in. square. (17 pcs.) $400/600 415. A Limoges Porcelain Oyster Plate from the White House Service of President Rutherford B. Hayes (1877-81), c. 1880, Haviland & Co., Limoges, France, designed by artist Theodore Russell Davis, fully marked, with five wells, diameter 8 3/4 in.

417 420

$1000/1500 Note: Haviland, the great French porcelain maker who was responsible for so many White House china designs, described this design in his 1879 catalogue: “The Oyster Plate will be an acceptable invitation. The rich effect of the design is enhanced by the method adopted in its manufacture. The colors are laid upon the china clay under the glaze. China, color and glaze are fired at the same time, producing an effect and integrity of color, which is pleasant to the eye and as durable as the porcelain itself. Five Blue-Point oyster shells cover the principal surface of the plate; beyond these are portrayed a cluster of the raccoon oysters, which are well known in the Southern Atlantic States...The background offers a glimpse of the ocean...” An identical plate is pictured in Martha Klapthor, Official White House China, (Harry N. Abrams, 1999), p. 103.

419. A Pair of English Arts and Crafts Brass Fire Dogs, c. 1885, attributed to Benham & Froud, London, from a design by Christopher Dresser, each spherule ribbed body on three cylindrical legs and surmounted by tool rest, height 6 3/4 in. $300/500 419

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

W 416. An Unusual Paris Porcelain Tea Caddy,

19th c., polychrome Chinoiserie decoration, rectangular form with hand-painted reserve, original stopper, height 6 in. $400/600

420. A French Art Nouveau Patinated Metal Vase, early 20th c., after Auguste Moreau (French 1834-1917), semi-recumbent figure of Night on a crescent moon, cast signature, marked “AJ” and with a starburst mark at bottom, height 18 1/2 in. $1200/1800


421. An Antique French Carved Walnut and Ivory “Guillotine” Cigar Cutter, 19th c., elaborately carved, with working blade and tilting platform, height 17 3/4 in., width 11 3/4 in., depth 7 3/4 in. $800/1200 W 422. A Group of Antique

Continental Bronzes, including a pair of cobra-form candlesticks; a censer; a rooster, and a chicken, last two signed “Fremiet”, candlestick height 6 3/4 in.


$500/700 421


423. A French Inlaid Burlwood Cave à Liqueur, mid-19th c., mother-of-pearl, ebonized and brass inlay, retaining four etched and cut glass decanters, and 11 etched glass cordials, height 10 1/4 in., width 12 7/8 in., depth 9 1/2 in. $500/750 424. A Pair of Napoleon III Patinated Bronze and Marble Figural Candlesticks, c. 1870, each opposing putto holding a trumpet-form candleholder, on octagonal fluted base, fitted for electricity, height to top of candle nozzle 14 1/2 in., diameter 4 1/2 in. $600/900 W 425. An American Aesthetic Brass Fireplace

Surround, 19th c., bold reeded brass balls connected by double brass rails on rectangular canted base, height 11 3/4 in., width 48 in., depth 14 in.


W 426. An Antique English

Polychrome and Gilt Porcelain Vase, 19th c., unusual circular form reserved to each side with birds and floral sprays, the base with raised oval sunburst mark, numbered 611, height 13 1/4 in., width 10 3/8 in. Note: Foot restored.

428. A Decorative Pair of Silverplate Wine Buckets, with stag handles, tapering cylindrical form with Greek key bands, removable liner, height 10 3/4 in. $1000/1500

$400/600 W 429. An English W 427. A Good Antique Silverplate

Serving Tray, two-handled oval shaped flat surface with allover chased foliate scrolls and flowers surrounding a plain reserve, reticulated flared rim with a bold cast foliate border and handles, raised on four scroll supports, 29 3/4 in. x 20 in l.

Edwardian Sterling Silver Gilt Cake Knife or Fish Slice, Henry Atkins, London, 1906, with pistol grip handle, the blade fashioned after an early 19th c. fish slice form, length 10 1/4 in.




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431. An American Neo-Grec Inlaid, Ebonized and GiltIncised Center Table, c. 1870, New York, the top of exotic woods inlay centered by an anthemion, urn, and griffin reserve, floral inlaid edge, gilt incised frieze and paneled, square tapering legs, connected by incurvate stretcher centered by an urn, turned feet, casters, height 30 in., width 44 in., depth 29 in. $2500/3500 432. Christopher Moore (British/Irish, 1790-1863), probably “Surgeon T.S. Pettigrew, Esq., F.R.S.”, 1829, marble, signed and dated on spine of socle “C. MOORE/ Sculpt./ 1829”, height 28 in.


430. An American Renaissance Carved and Inlaid Rosewood Pedestal, late 19th c., probably Herter Bros., New York, associated hexagonal top, circular black marble, anthemion inlay and gilt bronze banding, scalloped skirt above a columnar standard with three gilt-incised scrolled supports ending in hoof feet, incurvate triangular plinth, height 37 1/2 in., width 30 in. $2000/3000



Note: This very impressive bust is presented in the full Classical style, with toga drapery, yet with the highly naturalistic details of the sitter’s fashionable whiskers framing his cheeks and chin. The identification is provided by the “Dictionary of Contributors to the Royal Academy of Arts” in London, where in 1829 the Irish-born sculptor Moore (who had moved to England in 1821) submitted only five busts: one represented a rabbi, one was a young boy, and two were more senior Members of Parliament. Dr. Pettigrew (1765-1832) had become a Fellow of the Royal Society in 1827, and this bust (Moore’s 1829 entry no. 1143, and fifth bust) was doubtless executed to record that membership. Reference: Algernon Graves, The Royal Academy of Arts: A Complete Dictionary of Contributors and their Work…1769 to 1904, 8 vols., London, 1905-1906, vol. 5, p. 280.

432 433


433. An Aesthetic Carved and Burl Walnut Sidelock Chest, late 19th c., pierced gallery above a floral and urn carved frieze with two short drawers, above five long drawers, reeded pilasters, plinth base, height 61 in., width 38 in., depth 23 in. $1200/1800


434. An American Renaissance Carved and Burl Walnut Bedroom Suite, c. 1860, Mitchell & Rammelsberg, Cincinnati, Ohio, comprising a bedstead and princess dresser; the headboard and mirror with cartouche crest, floral and burl panels, bracketed rails; arched rounded footboard; the dresser with pendant drops and candle shelves, marble top center above two drawers flanked by marble top pedestal ends containing four drawers, carved foliate pulls, blocked base; back of mirror stamped; cast iron hardware stamped, dresser height 101 in., width 57 in., depth 22 in.; bed height 109 in., length 80 in., depth 60 in. $7000/10000 Note: The interplay of burl veneers, boldly carved adornments, and large proportions on this suite are typical of bedroom furniture known from Mitchell and Rammelsberg in the years surrounding the Civil War. Scholar Ulysses Dietz notes that mid-western furniture makers worked on a “larger than life” scale to appeal to the less tradition-bound society of the West. A bedroom suite consisting of bedstead, dresser and armoire with a Mitchell and Rammelsberg label identical to that offered here was sold as lot 435 by Neal Auction Company February 11, 1991. Reference: Dietz, A Century of Revivals, p. 37, pl. 29. and Dubrow. American Furniture of the 19th c. 1840-1880, p 210.


435. An American Rococo Carved Rosewood Center Table, c. 1850, New York, serpentine marble top, pierced foliate and floral apron, cabochon and floral carved cabriole legs, scrolled toes, shaped stretchers centered by a pierced foliate cartouche, height 30 in., width 46 in., depth 32 in. $2500/3500 W denotes the lot is illustrated at



436. Paul-Louis-Narcisse Grolleron (French, 18481901), “The Franco-Prussian War; French Officers Planning the Attack”, c. 1875, oil on beveled wood panel, signed lower left, 18 1/8 in. x 14 5/8 in., in a later frame. $3000/5000 Provenance: Sold in these Rooms May 1987 as lot #438; Succession of Flores Howard Sussdorf to Harry T. Howard III.


438. A Very Fine American Modern Gothic Carved Walnut Bookcase, mid-19th c., attributed to Daniel Pabst, Philadelphia, molded pediment above a conforming cornice, glazed doors separated by lappet molding, the lower doors and returns decorated with low stipple carved leaves centered by a flower, on molded plinth, height 104 1/2 in., width 72 1/4 in., depth 21 3/8 in. $7000/10000 Provenance: Civil War Society of Philadelphia. Note: Several design elements on this bookcase are closely related to known case pieces from the workshop of Daniel Pabst. The finely rendered “coin” stiles are similar to examples from Pabst’s Renaissance Revival work including those on a sideboard and parlor cabinet, both conserved by the Philadelphia Museum of Art (acc. Nos. 38-1-78 and 38-1-80).


437. Henri-Joseph Harpignies (French, 1819-1916), “L’église dans la Campagne”, 1879, oil on canvas, signed and dated lower left, partial “Seebold” label en verso, 8 1/2 in. x 18 in., in a good period carved giltwood frame. $3000/5000 Provenance: Succession of Harry T. Howard III.


The incised and stippled panels on this bookcase resemble panels on pieces within Pabst’s Modern Gothic oeuvre related to the work of English designer Christopher Dresser. Pabst examples with similar carving include a bedroom suite in the Philadelphia Museum of Art (acc. 73-42. 1-3) and an armchair from a private collection illustrated in Kaplan. “The Art that is Life,” The Arts and Crafts Movement in America 1875-1920, p. 73, fig. 13. Reference: The Philadelphia Museum of Art examples are illustrated in Hanks and Talbott. “Daniel Pabst—Philadelphia Cabinet Maker,” Philadelphia Museum of Art Bulletin, (April 1977), p. 10, fig. 4; p. 12, fig. 6; p. 16, fig 11.

439. A Rare American Carved and Inlaid Mahogany Vitrine, late 19th c., New York, top with leaf carved edge, concave glazed sides and paneled door, interior with glass shelves, molded base, toupie feet, the whole with brass, mother-ofpearl and lightwood floral inlay, height 47 in., width 43 3/4 in., depth 17 1/2 in. $1500/2500 440. A Pair of Hepplewhite Satinwood Wheelback Armchairs, 19th c., oval pierced splat, serpentine arms, shieldshaped caned seats, inlaid square tapered legs ending in spade feet, back leg stamped “C.W”.



$2000/3000 441. A Continental Marquetry and Gilt BronzeMounted Encoignure, 19th c., white marble top, inlaid panel door containing reserve of Classical ruins, blocked feet, height 33 in., width 26 in., depth 15 in.




442. An Italian Parquetry Table de Toilette, late 18th/early 19th c., lift-top opening to adjustable mirror and Brèche d’Alep marble surface with fitted basin, cabriole legs, height 29 in., width 40 in., depth 21 in.

443. A Good Pair of Antique Italian Grand Tour Verdigris Bronze and Marble Pedestals, the inset white variegated marble top with lamb’s-tongue border, tapered, reeded legs ending in paw feet, central foliate standard, on molded incurvate plinth base, height 39 1/2 in., diameter 14 in.



441 W denotes the lot is illustrated at


444. A Pair of Antique Italian Laca Povera Panels, 19th c., “à la chinois”, wood panels, molding enclosing genre scenes with figures, and birds in a landscape, presented in modern, carved greenwashed oak frames, height 36 1/2 in., width 44 1/2 in., depth 2 1/2 in. $1500/2500 445. A Large Antique Continental Majolica Urn on Stand, late 19th c., marked in script “4136”, the shaped, lobed vessel with griffin handles, cartouche, conforming base, glazed in yellow, blue, green and brown, height 49 in., width 29 1/2 in., depth 21 1/4 in. $2000/3000 446. A Pair of Paris Porcelain Spill Vases, c. 1825, each with finely detailed Classical landscape reserve with gilt borders, French yellow reverse, on removable gilt decorated base, height 9 1/2 in., diameter 9 3/8 in.

444 (1 of a pair)




447. A Louis XVI-Style Gilt Bronze SixLight Chandelier, cage-form, feathered corona, the fluted-bell issuing Greekkey candle arms, mounted with swags and acanthus, height 34 1/2 in., diameter 18 in. $2500/3500 448. A Charles X Rosewood and Satinwood Inlaid Commode, 19th c., marble top above ogee frieze drawer with floral inlay, door with foliate and opposing phoenix inlay, plinth base, casters, height 32 in., width 18 1/2 in., depth 16 1/2 in. $800/1200




449. A George III Carved and Inlaid Mahogany Sideboard, c. 1795, shaped case with two short drawers above shaped and inlaid skirt flanked by doors, string and banded inlay throughout, tapered square legs ending in spade feet, height 37 in., width 74 5/8 in., depth 35 1/4 in. $4000/6000 450. A Rare Italian Faux Bois Commode, late 18th/early 19th c., two long drawers, shaped apron, cabriole legs, height 33 1/2 in., width 44 1/2 in., depth 19 1/2 in. $3000/5000




451. Mexican School, 19th c., “El Patrón” and “La Patrona”, pair of oils on copper, unsigned, each 27 1/2 in. x 22 1/2 in., framed alike. $8000/12000 452. A Pair of Italian Neoclassical-Style Carved Marble Urns, everted egg and dart molded rim, ram’s heads with beribboned festoons, socle base on a square plinth, height 43 in. $2500/3500

451 W denotes the lot is illustrated at


453. An Antique French Classical-Style Gilt Bronze-Mounted Marble Pedestal, c. 1890, revolving top, mounted with musical trophée, with egg and dart and acanthine borders, height 44 in., width 14 1/4 in., depth 14 1/4 in. $1000/1500 454. A Fine Pair of George III Carved Giltwood Mirrors, 18th c., each crest centered by a rocaille carved mirror surround, flanked by ho-ho birds, entwined garlands to the sides, shaped mirror plate, cartouche base, height 62 in., width 37 in., depth 7 in. $12000/15000



455. A Pair of Monumental Chinese Ivory Phoenix Birds, each magnificent bird depicted in mirror image of the other with a peony spray in its beak, standing on a naturalistic rockwork base issuing an intricate profusion of peony blossoms, heights 38 3/4 in., mounted to wood plinths, overall heights 42 1/2 in. Note: Scattered losses. $25000/35000 Provenance: New Orleans Collection; acquired at a Minnesota Estate auction during the early 1990s. Note: Phoenixes depicted with peonies represent prosperity and riotousness. The phoenix, or fenghuang, is known in China as the “king of birds”, while the peony is acknowledged as the “king of flowers”. Both symbolize royalty, rank, wealth, success and honor.





456. A Monumental Pair of Chinese Jadeite ‘LongLife’ Crane and Pine Groups, 20th c., each reticulated group modeled in mirror image of the other with a crane carved standing on the stump of an old pine tree, between entwined branches carrying a long-life sacred lingzhi fungus in its mouth with a rising sun behind its head, on one 457 branch of the pine crouches a bushytailed squirrel, heights 16 in., widths 9 1/2 in., carved wood stands, overall heights 19 in. $8000/12000 Provenance: New Orleans Collection. Note: Depictions of cranes and pine trees together are popular in Chinese art. The crane is considered a top ranking bird and is symbolic of both status and longevity; while the evergreen pine tree represents long life and endurance. The depiction of a crane (he) and a pine (song) together is known as song ling he shou or the wish to “live as long as a pine and crane”. The lingzhi fungus furthers the long-life metaphor, as do squirrels - songshu, or literally, “pine tree mice”.

457. A Pair of Chinese Spinach Green Jade Plaques Mounted as Table Screens, 20th c., each mottled spinach green jade stone relief carved in mirror image of the other, the fronts carved with the “Three Star Gods” standing in a rocky setting beneath an old fruiting peach tree, Fu Star (Good Fortune) holding a child, Lu Star (Prosperity) in mandarin dress holding a ruyi scepter, and Shou Star (Longevity) holding a peach and staff, a deer and a crane on the ground at their feet with two bats flying overhead; carved on the reverse with a large phoenix bird beneath a tree, height 11 7/8 in., width 7 7/8 in., set in a reticulated carved wood stand, overall height 16 3/4 in., width 10 1/8 in., depth 4 5/8 in. $2000/4000 Provenance: New Orleans Collection. 458. A Monumental Chinese Jadeite Figural Group of Shoulao and Children, 20th c., the large lavender, green and milky white boulder carved with a central figure of Shoulao carrying a dragonhead staff in one hand and the “Peach of Immortality” in the other, set beside a large peony vase and a fruit laden basket to his left and surrounded by ten small children, one modeled with a ruyi scepter, another with a cash coin, and others with peaches, lingzhi and other auspicious fruit and flowers, height 19 1/4 in., width 24 in. Note: Break and glue repair to far left side at fruit basket. $25000/35000 Provenance: New Orleans Collection. Note: In this lot, Shoulao, the Daoist God of Longevity, is accompanied by auspicious and long-life imagery, including ten youths, which are used to further the viewer’s or beneficiary’s wish for long-life.

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460 (13 of 251)


459. A Chinese Underglaze Blue and Copper Red Porcelain ‘Dragon and Tortoise’ Bottle Vase, Wanli mark but 19thc., globular body with a slightly tapering cylindrical neck, decorated with two menacing dragons and a tortoise contesting the flaming pearl amid cloud scrolls and flames, base with six character Wanli mark within double blue circles, height 12 in., wood stand, overall height 13 1/2 in. $3000/5000 Provenance: Acquired in China, 1960s by members of the U.S. State Department; thence to current owner, c. 1989.


460. [Philatelic/China] A Collection of 251 Chinese Stamps, including Imperial, ROC, Liberation and PRC, mint and used. $2500/3500 Provenance: Washington Collector; acquired by descent in the family of Zhao Xiwu (1918-2001), well-known herbal medical practitioner in Beijing. 461. Chinese School, Qing Dynasty (1644-1911), pair of portraits of a high ranking noble man and woman, each ink, color and gilt on paper, each with Sotheby’s Arcade labels en verso, each sight 48 1/2 in. x 29 1/2 in. $1000/1500 462. An English Paint-Decorated Satinwood Pembroke Table, late 18th/early 19th c., kingwood banded top reserved with Classical allegory, frieze drawer, on square tapered legs with bellflower decoration, brass cup casters, height 30 in., width 33 in., depth 20 in. $1000/1500 462


463. An American Classical Carved Mahogany Armchair, early 19th c., shaped crest rail above lappet carved scrolled arms, lappet carved legs with scrolled toes. $1000/1500





464. A Fine American Classical Carved and Gilt Stenciled Mahogany Breakfast Table, late 18th/early 19th c., drop-leaf top above a stenciled apron, each corner with beribboned lyre, tapered faceted support, circular plinth, acanthus carved legs ending in paw feet, casters. $1200/1800 Note: The juxtaposition of gilt decoration and carved paw feet on this table are very similar to those on examples attributed to Deming and Bulkley (New York, active 1820-1850, active Charleston c. 1840). The stencilled lyre decoration on the frieze blocks of this table is identical to that on a pier table attributed to Deming and Bulkley and illustrated in Cynthia Moyer. “Finish Conservation on a Deming and Bulkley, c. 1825 New York Classical Pier Table, an Evolution”, Wooden Artifacts Group Postprints. 2003.

465. A Fine American Renaissance Inlaid, Ebonized, Gilt-Incised and BronzeMounted Rosewood Parlor Cabinet, c. 1870, New York, the sarcophagus top and frieze with rinceau inlay, above a door with bronze plaque depicting a Bacchante playing the double flute for a dancing infant satyr, flanked by panels inlaid with trophées of the attributes of Love Triumphant, canted sides and plinth base, fluted disc feet, height 53 in., width 61 in., depth 19 in. $4000/6000 466. An Antique Louis XVI-Style Marquetry and Mahogany Bouillotte Table, 19th c., rouge marble top with brass gallery, frieze with two drawers and two candle slides, square tapered legs ending in cup casters, height 29 1/8 in., diameter 25 1/2 in. $700/1000

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469. A Set of Eight French Art Deco Carved Rosewood Side Chairs, early 20th c., arched backs, shaped seat and rails, turned tapered legs. $2000/3000



470. An American Aesthetic Carved, Inlaid and Ebonized Center Table in the Orientalist Taste, c. 1875, in the manner of Herter Bros., inset marble top with reeded edge, chevron inlaid frieze, floral carved, pierced and bracketed skirt, blocked square legs, the pierced medial stretcher carved with sunflower panels, retaining original surface, height 28 in., width 39 in., depth 27 in. $1000/1500 471. An American Rococo Carved Rosewood Firescreen, mid-19th c., C and S scroll pierced crest centered with a cabochon cartouche and flanked by birds, foliate sides, arched molded trestle legs, scroll toes, casters.



W 467. An Antique Continental Gilt-

Incised Rosewood Pedestal, late 19th c., square swivel top, stepped plinth, tapered incised stem, conforming molded stepped base, height 44 in., width 14 3/8 in., depth 14 in. $600/900 W 468. A George III Carved

Mahogany Library Chair, 18th c., arched back, padded arms terminating in rosettes, bellflower carved supports, fluted and foliate carved seat rail, bellflower carved square tapered legs connected by stretchers. $800/1200

$800/1200 472. An American Classical Carved Mahogany Work Table, c. 1830, two long drawers, one fitted drawer to side, acanthine standard, arched legs, hairy paw feet, casters, height 31 in., width 20 7/8 in., depth 17 in. $700/900 473. An American Classical Carved Mahogany Center Table, early 19th c., Boston, circular tilt top, tapered pillar with turned collar, incurvate plinth, scroll feet, casters, height 30 1/2 in., width 42 in. $800/1200



474. Marie Atkinson Hull (American/ Mississippi, 1890-1980), “Jacaranda”, watercolor, signed and titled lower right, sight 11 1/4 in. x 8 3/4 in., attractively matted and framed. $800/1200 475. American School, late 19th c., “Tropical Landscape”, 1895, oil on canvas, signed “Strothers” and dated lower left, 28 5/8 in. x 36 in., framed.



$1000/1500 476. Knute Heldner (Swedish/New Orleans, 18751952), “Cabin in the Bayou”, oil on canvas, signed lower left, 30 in. x 36 in., in a rustic frame. $4000/6000 477. Morris Henry Hobbs (American/ Louisiana, 1892-1967), “Sailboats at Anchor”, oil on board, signed lower left, 12 in. x 9 in., framed. $2000/3000 Provenance: Descended in the family of the artist. W 478. Morris Henry Hobbs

(Louisiana, 1892-1967), “Tristeza”, 1944/45, drypoint and aquatint on paper, signed and titled, image 8 in. x 6 in., unframed. $500/700 Provenance: Descended in the family of the artist.



W 479. Morris Henry Hobbs (Louisiana,

1892-1967), three engravings, “Dolores”, 1935, pencil-signed, numbered “Ed/25” and titled, image 5 3/4 in. x 4 in.; “Lassitude”, pencil-signed, numbered “Ed/10” and titled, image 8 in. x 10 in.; and “Piquante”, pencil-signed, numbered “Ed/250” and titled, image 7 1/4 in. x 5 in., all unframed. $1200/1800 Provenance: Descended in the family of the artist. 480. Adolph Kronengold (American/ Louisiana, 1900-1986), “Ursuline Street, New Orleans”, oil on masonite, signed lower right, titled and with gallery label en verso, 16 in. x 20 in., attractively framed. $800/1200 480 W denotes the lot is illustrated at





481. Robert Gruppe (American/Florida, b. 1944), “Florida Sunset, Marco Island”, oil on canvas, signed lower left, 24 in. x 36 in., attractively framed.


$1200/1800 W 485. Morris Henry Hobbs (American/Louisiana, 1892-

482. Robert Gruppe (American/Florida, b. 1944), “Palm Trees near Naples”, oil on canvas, signed lower right, 24 in. x 36 in., framed.

1967), “Becky”, etching on paper, pencil-signed and titled, sheet size 13 1/8 in. x 10 1/4 in., plate size 9 7/8 in. x 7 in., attractively matted and framed.



483. William Woodward (American/New Orleans, 18591939), “Still Life with Fruit”, 1881, oil on canvas, signed and dated lower right, “Chas. G... Butler Exchange” pencil inscription en verso, 10 in. x 14 in., in a period frame.

W 486. Morris Henry Hobbs (American/Louisiana, 1892-



484. Knute Heldner (Swedish/New Orleans, 1877-1952), “Birch Trees, Minnesota”, oil on canvas, signed lower right, 18 in. x 20 1/4 in., in a giltwood frame.

W 487. Louis Oscar Griffith (American/Louisiana, 1875-




1967), “Youth”, 1942, etching on paper, pencil-signed, titled and numbered “ed./50”, dated in plate, sheet size 6 7/8 in. x 5 3/8 in., plate size 5 in. x 3 in., attractively matted and framed.

1956), “French Quarter, New Orleans”, color etching with aquatint, signed and numbered “48/100”, 12 in. x 10 in., framed.

488. A Pair of American Classical Andirons, early 19th c., stamped “John Molineux, Boston”, banded ball tops on ring-turned standards, height 14 1/4 in., width 9 in., depth 25 in. $800/1200 489. A Fine Antique Belgian Gilt Cast-Iron Purveyor’s Sign, mid-19th c., cast as the Belgian coatof-arms, surmounted by the Royal Crown of Belgium, over a lion rampant, crossed scepters and the Order of Leopold, flanked by guard lions, over a banner with the Belgian motto “L’Union Fait a Force”, the lower reserve with traces of paint signed “Brevete de S.M. Le Roi des Belges”, height 29 in., width 32 3/4 in., depth 1 3/4 in.



$800/1200 490. A Pair of Monumental Gothic Revival Polished Bronze Candleholders, probably 19th c., French, tripod base and columnar standard, heavily embellished with foliate motifs, Gothic arches and crockets, now mounted as lamps, height 43 in., diameter 10 in. $1000/1500


491. An Antique Italian Carrara Marble Bust of a Young Boy, the deeply dimpled, curly haired figure wearing a cross around his neck, with a rose garland draped across his chest, height 28 in., on a marble columnar pedestal. $2000/3000 492. A Continental Patinated Bronze of a Classical Nymph, possibly Syrinx, the chaste follower of Artemis depicted with her usual attribute of rushes and cattails, with decorated pedestal, height 102 in. $1500/2500


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494. A Pair of Antique Italian Carved and Polychromed Blackamoor Torchères, 19th c., the opposing figures modeled in the round, exuberantly painted, standing on a gondola, the base in the form of water, height 37 1/2 in., width 14 in., depth 12 in. $1500/2500




495. A Pair of Art-Nouveau Bronze-Mounted Sèvres Lidded Urns, c. 1900, marked by Sèvres in underglaze blue, also stamped “France” on bronze base, with fine full-length portraits of ladies and foliate and scroll decoration; together with a similar vase mounted as a lamp, vase height 19 in., diameter 5 in; height of lamp 13 in. $1500/2500


493. A French Rococo-Style Polychromed and Gilded Trumeau, reserved with a courting couple in 18th c. dress within a scrolled surround, flanked by beribboned foliate pendants above Classical urns, height 71 1/4 in., width 47 in. $1500/2500


496. A Large Dresden Porcelain Polychrome and Gilt Figural Group, underglaze blue crown mark, depicting an aristocratic family, the children presenting their grandmother with spring bouquets, on a rocaille molded base, height 14 3/4 in., width 19 3/4 in., depth 11 in. $2000/3000

W 497. A Meissen Porcelain

Polychrome and Gilt Reticulated Basket, base with underglaze blue crossed swords mark, inscribed G.6. and impressed 138, applied flowering vines and painted floral sprays, branchwork handles and feet, height 5 3/8 in., width 13 1/2 in., depth 9 3/8 in. $700/900 498. Four Carrara Marble Profile Busts of Roman Emperors, including Augustus, Tiberius and Titus; each figure mounted to brêche d’Alep plaques set within wood frames, 22 1/2 in. x 19 in. $5000/7000 499. A Set of Eight HepplewhiteStyle Carved Mahogany Dining Chairs, 19th c., comprised of two arm and six side chairs, arched backs, pierced splats with swagged Prince of Wales feather carving, bowed trapezoidal slip seats, ending in fluted tapered square legs, Marlborough feet, H stretchers. $4000/6000 W 500. A French Neoclassical-Style

Gilt Mirror, molded surround with patera blocked corners, height 68 1/2 in., width 47 in. $800/1200 501. An American Classical Mahogany Center Table, c. 1830, shaped top with figured segmented veneers, vasiform standard on scroll feet, casters, height 29 in., width 35 3/4 in. $1000/1500




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505. An American Gilt Lacquered Brass and Bronze Solar Lamp, c. 1850, possibly H.N. Hooper & Co., relates to item No. 405 in the 1850 catalogue, font fitted with kerosene burner, Ionic columnar standard atop square plinth, period etched and cut shade, chimney and crystal prisms, overall height 27 1/2 in. $800/1200 Reference: Gowitt, Gerald 19th Century Elegant Lighting, 2002, pp. 43 & 97.

506. An American Gilt Lacquered Brass and Bronze Solar Lamp, c. 1850, probably H.N. Hooper and Co. or Dietz & Co., font atop triangular standard with scrolled acanthus decoration, cut and etched shade, crystal prisms, height 30 in., diameter 8 1/2 in.




503. An American Classical Carved Mahogany Miniature Chest of Drawers, 19th c., torus-molded drawer over three graduated drawers flanked by turned columns, turned feet, original finish and glass pulls, height 13 1/2 in., width 12 1/4 in., depth 9 in. $800/1200



502. A Set of Three American Classical Mahogany and Burlwood Side Chairs, early 19th c., Philadelphia, tablet crest rail, curved uprights with quarter fans, turned and faceted tapered legs. $800/1200


504. An Antique Regency-Style Carved Mahogany Pier Table, 19th c., variegated marble top, Vitruvian scroll carved skirt centered by a tablet, fluted and acanthus-carved scrolled supports on stepped blocked plinths, height 33 in., width 48 in., depth 19 1/2 in. $1000/1500

Note: This standard, identical to an illustrated example, is found as No. 501 in the Hooper catalogue as well as No. 47 in the Dietz catalogue. Reference: Gowitt, Gerald 19th Century Elegant Lighting 2002, pp. 32 & 82.

507. An American Classical Giltwood Mirror, c. 1825, with trade label “A. Treat, Troy, NY, Oct. 1825”, turned pilasters, blocked rosette corners, divided mirror plate, height 34 in., width 19 in. Condition: Crazing to silvering. $500/800

508. A Pair of Cast Iron Garden Settees, after Coalbrookdale, the back composed of scrolled roundels of oak leaves and acorns with ivy tendrils, rounded arms terminating in lion’s heads, slatted wooden seat, oak leaf rail, on arched cabriole legs ending in paw feet, height 37 in., width 59 in., depth 28 in.


$3000/5000 Note: Originally designed by John Bell, one of the Coalbrookdale principal sculptors, this bench form was number 119253 when registered at the British Public Record Office on March 8, 1859. This pattern is illustrated as seat no. 30 in the 1875 Coalbrookdale catalogue, section III, page 256.


509. A Rare Antique American Horn Armchair, late 19th c., probably San Antonio, Texas, the back, arms and legs composed of steer horns and retaining the original tooled saddle leather back rest and seat, connected by chromed steel stretchers, height 51 in.


510. John James Audubon (American, 1785-1851), “Yellow Billed Magpie, Stellers Jay, Ultramarine Jay, Clark’s Crow”, Plate 362, hand-colored engraving with aquatint, from Birds of America, Havell edition, watermarked “J. Whatman/1837”, sheet 32 in. x 25 1/2 in., attractively matted and framed.

$3000/5000 Note: The extensive use of Mexican stamped leather on this chair indicates it may have been made by Wenzel Friedrich (Bohemia/ San Antonio, Texas 1827-1902) or a nearby competitor in central or south Texas. His works received merit awards at the Cincinnati Industrial Exposition (1883), the New Orleans Industrial and Cotton Centennial Exposition (1885), and the Southern Exposition at Louisville, Kentucky, (1886). Patrons included Queen Victoria, Otto von Bismarck and Kaiser Wilhelm I. A hall rack with a horseshoe top nearly identical to that seen here is illustrated top center of the c. 1890 W. Friedrich advertising placard. Reference: St. John. Longhorn Artist Wenzel Friedrich; Bishop and Coblentz. The World of Antiques, Art and Architecture in Victorian America, p. 180; “Early Texas Furniture and Decorative Arts”, San Antonio Museum Association, 1973, pp. 138-139, fig. 165; Wenzel Friedrich 1890 catalog, pp. 28-29.

$2000/3000 511. John James Audubon (American, 1785-1851), “Chuck Will’s Widow”, Plate 52, from Birds of America, hand-colored engraving with aquatint, Havell edition, “J. Whatman/Turkey Mill” watermark, sheet 37 1/2 in. x 25 3/4 in. $3000/5000 509

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516 513 513. John James Audubon (American, 1785-1851), “BlackBellied Plover”, Plate 334, hand-colored engraving with aquatint, from Birds of America, Havell edition, “J. Whatman/1836” watermark, sheet 25 1/8 in. x 38 in.

512. John James Audubon (American, 1785-1851), “Sanderling”, Plate 106, handcolored engraving with aquatint, from Birds of America, Havell edition, “J. Whatman/1838” watermark, sheet 26 in. x 38 1/2 in.

$1800/2500 514. John James Audubon (American, 1785-1851), “Nuttal’s Starling, Yellow-Headed Troopial, Bullock’s Oriole”, Plate 388, handcolored engraving with aquatint, from Birds of America, Havell edition, sheet 38 1/2 in. x 26 1/2 in., attractively float-mounted and framed. $1800/2500 515. John James Audubon (American, 1785-1851), “Hyperborean Phalarope”, Plate 215, hand-colored engraving with aquatint, from Birds of America, Havell edition, “J. Whatman/Turkey Mill/1834” watermark, sheet 26 in. x 38 1/2 in.




516. John James Audubon (American, 1785-1851), “Schinz’s Sandpiper”, Plate 278, hand-colored engraving with aquatint, from Birds of America, Havell edition, “J. Whatman/1835” watermark, sheet 25 3/4 in. x 38 1/2 in. $1500/2500



W 520. John James Audubon (American, 1785-1851), “Black Amer-

ican Wolf”, Plate 67, hand-colored, large folio lithograph by J.T. Bowen, from The Viviparous Quadrupeds of North America, sheet 21 in. x 27 1/4 in. $800/1200 517

W 521. John James Audubon (American, 1785-1851), “Northern

Hare”, Plate 12, hand-colored, large folio lithograph by J.T. Bowen, from The Viviparous Quadrupeds of North America, sheet 21 in. x 27 1/4 in. $800/1200 W 522. John James Audubon (American, 1785-1851), “Grey

Rabbit”, Plate 22, hand-colored large folio lithograph by J.T. Bowen, from The Viviparous Quadrupeds of North America, sheet 21 1/2 in. x 27 in., attractively float-mounted and framed. $800/1200 523. Herbert Dicksee (British, 1862-1942), “Recumbent Lion by a Lake”, 1891, etching and drypoint on paper, pencil signed, signed in plate, sight 18 1/4 in. x 30 1/4 in., matted and framed. 523

517. John James Audubon (American, 1785-1851), “Whip-poor-will”, Plate 82, hand-colored engraving with aquatint, from Birds of America, Havell edition, “J. Whatman, 1830” watermark, sheet 38 1/4 in. x 25 1/2 in. $3000/5000 W 518. John James Audubon (American, 1785-1851),

“Summer, or Wood Duck”, Plate 375, chromolithograph by J. Bien, New York, 1860, from Birds of America, sheet 40 in. x 27 1/4 in., attractively float-mounted and framed.

$500/750 Note: This very imposing print is essentially a variant on “The Lion of Lucerne” by Bertel Thorvaldsen (Danish, 1768-1844), carved as a memorial (also on the shores of a lake) in 1820-21 to the Swiss Guards of the French Royal Household for their heroic 1792 defense of the Palais des Tuileries, Paris. W 524. Herbert Dicksee (British, 1862-1942), “Lioness with Cub by a

Lake”, etching and drypoint on paper, pencil-signed and initialed in the plate, sight 17 in. x 27 1/8 in., matted and framed. $500/750 W 525. After Anton Hohenstein (American, 19th c.), “The Light of


Freedom”, 1854, color lithograph, printed by Lafosse, sheet 24 in. x 18 in., image 21 in. x 14 5/8 in., matted and framed.

Provenance: Kenyon Oppenheimer, Chicago, IL.


W 519. John James Audubon (American, 1785-1851),

“Esquimaux Dog”, Plate 22, hand-colored, large folio lithograph by J.T. Bowen, from The Vivparous Quadrupeds of North America, sheet 22 in. x 27 3/4 in.

526. John McCrady (American/Mississippi, 1911-1968), “Steamboat ‘Round the Bend”, 1945, lithograph, pencil-signed and titled, published by Associated American Artists, sight 10 3/4 in. x 15 1/2 in., matted and framed.


$800/1200 W denotes the lot is illustrated at


527. A Pair of Antique English Brass Tavern Candlesticks, 19th c., of large size with banded handle support, adjustable riser, on circular stepped bases, height 20 in., diameter 6 1/2 in. $700/1000 528. A Victorian Silverplate Tea and Coffee Service, with English Registry mark for March 9, 1873, in the neoclassical taste, comprised of a kettle-on-stand, teapot, coffee pot, open sugar and creamer, each of hexagonal paneled vase form on a pedestal base with reeded borders and neoclassical chasing, kettle-onstand height 20 in., (5 pcs.) $700/1000 527



529. An Antique English Silverplate Tea Tray, Sheffield, c. 1880, octagonal with cast scroll and foliate loop handles, gadroon border and acanthus scroll feet, flat surface with chased decorative band surrounding center vacant shield shape reserve, 29 1/2 in. x 17 3/4 in.


$800/1200 530. An Antique English Silverplate and Waterford Crystal Epergne, in the Orientalist taste, with centerbowl and 3 scroll arms supporting conforming bowls, the standard mounted with the figure of a Bedouin on a camel flanked by palm trees, elaborate ornamentation throughout, height 21 in., diameter 17 in. $800/1200 Provenance: Estate of Julia Badger, Grand Rivers, KY. 531. A Pair of Regency-Style Silverplate Wine Coolers, campagna form with lobed bodies, reeded border, with gadrooned foot and removable interior liner, with reeded loop pierced handles, height 10 in. $1200/1800 531


532. An Oushak Rug, Turkish, crimson and cream ground, allover floral design, geometric vine border, angora wool, hand knotted, 14 ft. 6 in. x 18 ft. 9 in. $2000/3000 533. An Antique Tabriz Carpet, cream and tan ground, central geometric medallion, foliate écoinçons, stylized vine border, 13 ft. 6 in. x 9 ft. 8 in. $1200/1800




534. A Persian Serapi Carpet, navy and crimson ground, central bold floral motif, floral vine border, 13 ft. 3 in. x 15 ft. 5 in. $6500/7500


535. A Fine Persian Heriz Carpet, crimson and blue ground, central floral medallion, overall geometric motif, foliate écoinçons, floral vine border on navy ground, 11 ft. 6 in. x 8 ft. 2 in. $4500/6500 W denotes the lot is illustrated at



536. A Persian Serapi Carpet, cream ground, overall geometric motif in blue and crimson, floral vine border, 15 ft. 6 in. x 12 ft. 10 in.


$6500/7500 537. An Aubusson Carpet, cream ground, central floral medallion, overall floral design in pink, green, and tan, crimson band border, 17 ft. 10 in. x 11 ft. 9 in. $4500/6500 538. A Carlo Nason Table Lamp, c. 1969, made for Mazzega, Italy, opalescent glass single-socket table lamp with stacked floriform lobes, height 17 in., width 18 1/2 in. 539

$1500/2500 Provenance: Sold for the Benefit of the Museum of Fine Arts, Houston.


539. A Monumental Continental Majolica Urn, 20th c., extensively decorated with lion-term handles, flanked by male and female masques, unmarked, height 32 in., width 17 3/4 in., depth 13 1/2 in. $500/700


540. A Pair of American Arts and Crafts Copper and Favrile-Glass Candlesticks, marked H.G. Cleaveland, Boston, foliate standard, now electrified, height 22 in. $600/900 541. John E. Alexander (American/Texas, b. 1945), “Jealousy”, oil on canvas, signed lower right, signed and titled en verso of canvas and on “Gallerie Simonne Stern/New Orleans” label en verso, 60 in. x 50 in., framed. $4000/6000




542. George Bauer Dunbar (American/Louisiana, b. 1927), “Coin du Lestin”, mixed media on masonite, signed lower center, 48 in. x 43 in. $8000/12000 543. Simon Gunning (American/Louisiana, b. 1956), “Fishing Boat”, acrylic on canvas board, signed lower right, 6 in. x 8 in., attractively framed. 542


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544 (1 of 2)


546. Jean Seidenberg (American/Louisiana, b. 1930), “Another Side of George”, 2004, graphite on paper, signed and dated lower left, titled and dated on artist’s label en verso, 44 in. x 30 in., framed. $3000/5000


544. Anne Wells Munger (Massachusetts/ Mississippi, 1862-1945), “Fishing Camp and Boat”, pastel on board, unsigned, 16 in. x 18 in.; and “Mardi Gras Window”, pastel on paper, signed lower left, titled en verso, 9 3/4 in. x 11 5/8 in., both unframed. $800/1200 Provenance: Purchased from the current owners of the house in Worcester, Massachusetts, where Anne Wells Munger lived at the end of her life.


Note: The sitter in this piece, George Schmidt (American/New Orleans, b. 1944), is a contemporary artist and colleague of Seidenberg’s who studied under artists such as John Clemmer, Robert Helmer, and Pat Trivigno. Seidenberg chose here to present Schmidt with his banjo in hand; Schmidt is well-known as a co-founder of the famous New Leviathan Oriental Fox-Trot Orchestra, which has been performing for the past thirty-five years. Music has always been of great importance to Schmidt, who plays the banjo and performs vocals for the band.

547. Pablo Picasso (Spanish, 1881-1973), “Bathsheba”, 1963, aquatint, pencil-signed and numbered “54/300”, “BFK” watermark, “Atelier Crommelynck Paris” blind stamp lower left, sight 12 1/2 in. x 16 in., sheet size 17 3/4 in. x 22 in., matted and framed. $12000/18000

545. Tom Wesselmann (American, 1931-2004), “The Smoker”, 1976, silkscreen, pencil-signed and numbered “133/175”, 16 1/2 in. x 16 1/2 in., matted and framed. $4000/6000

W 548. James Rosenquist (American, b. 1933), a group of three prints

including; “Star and Empty House”, 1978, numbered “6/15 AP 2nd state” and pencil-signed and dated; “Black Triangle”, 1978, numbered “15/15 AP, 2 state”, pencil-signed and dated; and “Star Leg”, 1979, numbered 11/78, 2 state”, pencilsigned and dated, each sheet 22 3/4 in. x 39 3/4 in., two framed, one unframed. $600/900


549. Lin Emery (American, b. 1926), “Abstract Kinetic Sculpture”, 2003, polished metal, initialed and dated, on a square granite plinth, height 17 1/4 in. $5000/7000 550. Fletcher Benton (American, b. 1931), “Abstract Sculpture”, 1996, bronze, signed and dated, height 13 in. $3000/5000




551. John Tarrell Scott (American/New Orleans, 19402007), “Untitled”, polychromed metal, height 13 3/4 in., width 19 in. $1000/1500 552. Angela Gregory (American/New Orleans, 19031990), “Philomela”, c. 1970s, bronze, after the c. 1920 plaster sculpture by the artist, artist’s cipher on base, height 11 1/2 in. $7000/9000 Provenance: Descended in the family of the artist.


Note: The New Orleans born Gregory was from an artistic family; her mother, Selina Bres Gregory, was a well-known painter. Angela Gregory studied at Newcomb College with Ellsworth Woodward (1861-1939) and with Charles Keck (1875-1951) in New York, before moving to Paris to enter the studio of the great French sculptor Antoine Bourdelle (18611929. The prototype of the sculpture offered here was created while she was still a student in Paris. The elegant yet energetic modeling of this singular figure, the pathos conveyed by the slightly tilting head, and the delicately swooping wings, all reveal why this talented artist soon became one of the most accomplished sculptors in New Orleans. W denotes the lot is illustrated at




555 557 553. David Sinclair Nixon (American/ New Orleans, 1904-1967), “Mermaid Caught”, 1956, oil on board, signed and dated lower right, signed and titled en verso, 24 in. x 19 3/4 in., unframed. $1000/1500 W 554. David Sinclair Nixon

(American/New Orleans, 1904-1967), “A Couple”, oil on wood panel, unsigned, 16 3/8 in. x 7 7/8 in., unframed. $300/500

555. Robert M. Rucker (American/ Louisiana, 1932-2001), “Night Parade (Mardi Gras parade through the French Quarter)”, oil on canvas, signed lower right, title label en verso, 26 in. x 40 in., in a gilt wood frame.

556. Hunt Slonem (American/ Louisiana, b. 1951), “Guardians and Monarchs”, 2008, oil on canvas, signed, titled and dated en verso, 24 in. x 36 in., unframed.



Note: The flambeaux light the way for a Mardi Gras parade as it winds its way through the streets of the historic French Quarter in this delightful painting by Robert Rucker. In 1972, the city of New Orleans deemed that large parades through the French Quarter were unsafe and banned them.

557. [Mardi Gras], Three Mistick Krewe of Comus ball invitations: 100 Year Anniversary, February 14th, 1956, designed by Morris Henry Hobbs (American/New Orleans, 1892-1967), addressed to Miss Marguerite Elise Howard, Mr. and Mrs. H.T. Howard, Jr. and Mr. Harry Howard, theme: “Our Early Contemporaries”. $500/700



560. [Mardi Gras], King’s Scepter, Twelfth Night Revelers, 1897, ball theme: “Chrysanthemum,” Queen: Lydia Winship. $2000/3000 Note: This septer is a rare example of Carnival jewelry illuminated by battery. W 561. [Mardi Gras], Rex parade bulletin, February 13th,

1934, published by Searcy & Pfaff, Ltd., New Orleans, “The Conquest of Air”. $300/500 W 562. [Mardi Gras], Rex ball invitation, February 10th,

1891, theme: “Visions”. $400/600 Note: In 1891 Rex printed the largest Mardi Gras ball invitation ever produced. Because of their size, the invitations were hand-delivered by the Boylen Security Service. Reference: Hardy, Arthur, Mardi Gras in New Orleans, Arthur Hardy Enterprises 2003, p. 47.

559 563. [Mardi Gras], Mistick Krewe of Comus, a group of three vintage photographs of queens and court, including “Elise Mason Smith ‘Romantic Legends, 1917’”, by Moffet Studios, 19 3/4 in. x 14 3/4 in. unframed; “Marguerite Elise Howard, The Garland of Comus’, 1954”, sight 12 in. x 9 in., framed; “Veva Penick Miller and Court, ‘Animals of Fact and Fable’, 1939”, The Farish Art Store, New Orleans label en verso, sight 13 3/4 in. x 18 3/4 in., framed.

W 558. [Mardi Gras], Knights of Momus parade

bulletin, January 30th, 1913, published by Walle & Co., Ltd., New Orleans, “Above the Clouds”. $500/700 559. [Mardi Gras], an important New Orleans Society scrapbook, c. 1870-1880, including Mistick Krewe of Comus ball invitation, March 5th, 1878, “Scenes from the Metamorphoses of Ovid”; Rex ball invitation, March 5th, 1878, “The Gods Modernized”; Mistick Krewe of Comus ball invitation and two admit cards, February 10th, 1880, “The Aztec People and Their Conquest of Cortez”; Knights of Momus ball invitation, February 28th, 1878, “The Realm of Fantasy”; Twelfth Night Revelers ball invitation with envelope and two admit cards, January 7th, 1878, “A Twelfth Night Revel”; Rex Ball invitation with envelope and two admit cards, February 10th, 1880, “The Four Seasons”; Rex ball invitation and two admit cards, February 25th, 1879, “The History of the World”; Wednesday Club invitation with envelope and admit ticket December 30th, 1879; and New Orleans Club admit card, February 5th, 1880. $2000/3000

$700/900 W 564. [Mardi Gras], a

Mistick Krewe of Comus ball invitation, February 10th, 1880, “The Aztec People and Their Conquest of Cortez”. $200/400


W denotes the lot is illustrated at


565. [Mardi Gras], Mistick Krewe of Comus ball favor pin, green enamel snake. $400/600

W 574. [Mardi Gras], a group of seven Rex krewe favor enamel

pins including 1967, 1970, two from 1971, 1972, 1974 and 1980 with box; together with Rex ball favor of a musical lighter. $300/500

566. [Mardi Gras], Elves of Oberon krewe favor pin, recumbent jester holding a book.

W 575. [Mardi Gras], Mistick Krewe of Comus booklet, “God of


Mirth Greets Ye Once Again”,1924; Krewe of Proteus dance card, “The Last Days of Pompeii”, 1911; Krewe of Yanni dance card, 1911; and Krewe of Yanni dance card, 1913.

W 567. [Mardi Gras], Elves of Oberon krewe pin favor, two birds


holding a medallion. $300/500

W 576. [Mardi Gras], a group of three Knights of Momus ball

Orleans Carnival krewe favor pin, blue enamel bird.

favors including 1991 sterling silver flambeau pin, 1984 enamel scroll pin and krewe initial pin.



569. [Mardi Gras], The Atlanteans, sterling silver and enamel krewe favor pin, “The Starry Host”, 1910.

W 577. [Mardi Gras], a

W 568. [Mardi Gras], a New

Atlanteans sterling silver and enamel krewe favor pin, “The Starry Host”, 1910.

group of three Krewe of Achaeans ball favors including 1949 sterling silver cigarette urn from the founding year, silver candlestick holder from 25th Anniversary Year and crystal vase; together with Krewe of Dorians 1992 silverplate beaker.





W 570. [Mardi Gras], The

W 578. [Mardi Gras], a

W 571. [Mardi Gras], The

Atlanteans sterling silver and enamel krewe favor, “The Starry Host”, 1910.


$200/400 W 572. [Mardi Gras], a group of twenty

three Mistick Krewe of Comus ball favors including 1955 silver bracelet with charm, 1960 watch pin, 1963 pin designed by Adler’s, 1964 pin, 1971 pin, 1973 pendant, 1975 pendant/pin, 1978 pendant/pin, 1981 pin designed by Mignon Faget, 1982 pin designed by Mignon Faget, 1983 pin, two 1984 pins, 1989 pendant/pin, 1990 pin, 1992 pin, 1992 pendant/pin, 1993 pin, two initial pins, initial pendant, stick pin and pair of initial earrings. $700/900

group of three Krewe of Nereus ball favors including 1984 enamel cello pin, 1989 trident scepter pin designed by Mignon Faget and 2003 coral reef with a trident pin designed by India Stewart. $200/400 W 579. [Mardi Gras], a Rex ball

invitation envelope, February 18th, 1890, designed by Bror Anders Wikstrom (American/New Orleans, 1854-1909), “Rules of Ancient Times”, attractively framed. $200/400 569 W 580. [Mardi Gras], a group of

W 573. [Mardi Gras], a group of Mistick

Krewe of Comus ball favors including a letter opener with Coleman E. Adler & Son box, 100 Years of Comus 1857-1956 sterling silver goblet by Reed & Barton, 1969 bottle opener, two drink spoons, 1980 swizzle stick designed by Mignon Faget with box, two salt and pepper shakers, small silver tray, two 1976 frogs with crowns paperweights, 1970 Comus goblet and 1968 History of New Orleans, Duc d’Orleans, Regent of France compact, (13 pcs.) $400/600

Mistick Krewe of Comus ball favors including 1951 small Revere bowl, two 1972 Jefferson cups, three 1970s coupes and a sterling silver goblet and a Krewe of Alexis 1973 Jefferson cup ball favor; together with two 125th Anniversary 18411966 Boston Club beakers and 1953 S.L.S.C. silver cup inscribed to Harry T. Howard III (11 pcs.) $150/250 W 581. [Mardi Gras], two krewe favors including an Elves of

Oberon demitasse spoon and Mistick Krewe of Comus bell, 1952. $100/200


W 582. Ferdinand

W 585. [Mardi Gras], a

Bigard, Sr. (American/ New Orleans, 19282001), “Beaded Mardi Gras Indian Medallion”, 1992, signed and dated on the embroidery hoop, 6 1/4 in. x 6 1/4 in.; together with Bigard’s biography signed by the artist, (2 pcs.)

collection of late 20th and early 21st c. Carnival ephemera, including Olympians Sixtieth Anniversary 1904-1964 ball program and 2010 ball invitation; 1975 Children’s Carnival Club, Fiftieth Anniversary ball program; Krewe of Bacchus 2007 ball invitation with envelope and 2010 ball invitation with envelope; The High Priest of Mithras 2004 ball invitation, 2005 ball invitation and 2009 ball invitation; Caliphs of Cairo 2004 ball invitation and 2009 admit card; The Mystic Club 2010 ball program; Mistick Krewe of Comus 2009 admit card; The Ancient Scribes 1971 ball program; Twelfth Night Revelers 2008 ball program, 2009 ball program and admit card; Rex 1977 ball program; Le Krewe d’Etat 1996 luncheon invitation; Krewe of Nereus 2009 ball program; Mystic Krewe of Olympia 2004 ball program; Krewe of Mystery 1964 ball program; two of The Prophets of Persia 2004 ball programs; and Krewe of Proteus 2007 ball invitation.

$300/500 Note: For over forty years, Ferdinand Bigard designed and sewed Mardi Gras Indian costumes. W 583. [Mardi Gras], a

group of four Elves of Oberon ball favors including 2003 King’s pin of flower designed by India Stewart, 75th Anniversary 1895-1970 fairy pin, E of O initial pin, and 1965 silverplate pin tray; together with a Krewe of Alexis 1975 ball favor pin.


$300/500 584. [Storyville/Mardi Gras], Two vintage photographs of possible “Baby Doll” and a “New Orleans Prostitute”, c. 1920, silver gelatin prints, the latter mounted to a postcard, 5 in. x 3 1/2 in. and 5 1/2 in. x 3 1/2 in., each unframed.

$200/400 W 586. George Dureau (American/


New Orleans, b. 1930), “B.J. Anderson”, vintage silver gelatin photograph, unsigned, 18 3/8 in. x 15 7/8 in., matted and framed.

Provenance: B. Wolf Photography Collection, New Orleans. Note: In the early days of World War I, the U.S. War Department forced the closure of Storyville, despite the protests of local leaders and politicians. By November of 1917, the brothels run by Lulu White, Tom Anderson, Countess Willie V. Piazza and Josie Arlington were abandoned, their furnishings sold at auction, and the prostitutes dispersed.  Established by a city ordinance in 1897, Storyville had become the center of legalized prostitution, where brothels, cribs, saloons and jazz cabarets - including Mahogany Hall - flourished for the next twenty years. The closure of Storyville resulted in brothels moving to locations in the French Quarter and throughout the city. The lyrics to the song “Hesitation Blues” aptly described the local sentiment of the day: Legislature voted the District down… Legislature voted the District down… Damn good way to spread the hookers over town, Tell me how long will I have to wait? Can I have it nowOr Must I hesitate? These two intriguing vintage photographs of provocatively dressed and posed African American women, set against the same backdrop, were evidently shot in the same New Orleans photographic studio. The woman photographed in the lace underclothing and parasol appears to be a member of the Baby Dolls, a group of African American prostitutes who paraded on Mardi Gras Day. The other photograph was printed as a postcard, likely an advertisement.



587. George Dureau (American/ New Orleans, b. 1930), “Kathy B. Learning to Box”, silver gelatin photograph, signed and dated lower right, titled lower left, 13 1/2 in. x 13 1/2 in., matted and framed. $300/500 W 588. Eugene Delcroix (American/New Orleans, 1891-

1967), a group of four hand-colored vintage photographs including “Little Theatre Courtyard”, “Arts and Crafts Courtyard”, “Iron Lace Balconies” and “Cathedral Through Gateway”, all pencil-signed lower right, two titled lower left, one with Holmes Art Gallery, New Orleans label en verso, two 6 1/2 in. x 4 in. (sight), two 6 3/4 in. x 4 3/4 in. (image), two in matching period frames and two unframed; together with Charles Harlow Graves (American, late 19th century), “King Cotton, Mississippi, Agricultural Exposition, 1904 Louisiana Purchase Exposition, St. Louis”, vintage Art Nouveau stereograph, published by The Universal Photo Art Co. of Philadelphia and Naperville, 7 in. x 3 1/2 in., unframed. $400/600

Reference: Rose, Al, Storyville, New Orleans: Being an Authentic Illustrated Account of the Notorious RedLight District, University of Alabama, 1978.

W denotes the lot is illustrated at


589. Ronald Davis (American/ California, b. 1937), “Blk 57”, 1992, mixed media on wood panel, signed, titled and dated en verso, 7 3/4 in. x 15 in., unframed.

W 596. An African Bronze

Figural Group of a Mother and Child, possibly Benin, the mother modeled seated on a bench with three dogs crouching beneath, a vessel at her right foot from which emerges a long spindle attached to string held in her right hand, the baby suckling at her breast, height 4 5/8 in., width 3 3/4 in.

$500/750 W 590. Jean Nevitt Flanigen

(American/Georgia, 1898-1994), “The Holy Eucharist”, oil on canvas, signed en verso, “Geary Gallery/ Darien, Connecticut” label en verso, 18 in. x 16 in., in a giltwood frame.



W 597. An African Carved Wood

and Horn Inset Janus Figure, Tanzania, drum form twin body with cylindrical neck issuing two heads with an inset horn finial, the four legs raised on a circular plinth, height 31 3/4 in.

$700/900 Provenance: From the Noted Southern Art Collection of Steven Cabot Barnes Harvey (19491993).

$300/500 W 591. Jewel Alma Woodard Simon

(Texas/Georgia, 1911-1996), “Still Life of Flowers”, oil on canvas, signed lower right, 20 in. x 16 in., unframed.

W 598. A Bedouin Brass-Mounted

Carved Wood Coffee Bean Grinder, Mihbaj, Syria, solid wood base carved with geometric designs, height 9 in., width 9 in.; pestle length 22 1/4 in.

$800/1200 Provenance: From the Noted Southern Art Collection of Steven Cabot Barnes Harvey (19491993).

$200/400 601

W 599. A Persian Blue and White Pot-

W 592. Raoul Dufy (French, 1877-

tery Dish, probably 17th c. or earlier, Iran, the interior well with a central pinwheel medallion, surrounded by lobed floral cartouches and leafy vine design along the cavetto and rim, height 1 5/8 in., diameter 7 1/2 in.

1953), “Changing of the Guard at Windsor Castle”, color lithograph, signed in plate lower center, numbered “204/300” lower left, sheet 21 3/4 in. x 19 1/2 in., attractively matted and framed.



W 600. A Persian Safavid Blue and

W 593. Walt Kuhn (American, 1877-

White Pottery Jar, probably 17th c. or earlier, Iran, tapering ovoid body with a molded ridge band, decorated overall with flower heads and scrolling vines, height 7 5/8 in.

1949), “Ivoire”, 1929, lithograph, pencilsigned, “Casell Gallery/New Orleans” label en verso, sight 16 in. x 10 1/2 in., matted and framed. $200/300

$400/600 602 (1 of 21)

W 594. A Pre-Columbian Olmec

Painted Pottery Effigy Vessel, c. 200 B.C., San Salvador, globular body with strap handles (one lacking) and a cylindrical head-form neck with ear spools, height 6 3/4 in.; accompanied by a 1976 Certificate of Authenticity from Ellenda Wolfestieg. $300/500

601. An Islamic Raqqa Turquoise Glazed Jar, probably 13th c., Syria, globular body with a tall neck and everted rim raised on a short foot ring, decorated around the shoulder with a trellis band beneath a leafy vine banding the shoulder, overall turquoise blue glaze pooling toward an unglazed base and foot, height 8 1/2 in. Note: Loss to neck and mouth. $600/800

W 595. A Group of Indonesian Carved Wood and Buffalo

Horn Items, probably early 20th c., including a carved wood and buffalo horn stem bowl, height 9 in.; a carved wood crescent form bell, length 9 1/4 in.; a carved buffalo horn comb, height 6 1/2 in.; a carved wood spoon, length 6 in.; and a carved nut ovoid box with a naturalistic carved wood leaf-form cover, height 3 1/4 in., (5 pcs.) $250/350 Provenance: Sold for the benefit of the Museum of Fine Arts, Houston.

602. A Group of Twenty-One English Hand-Colored Engravings of Chinese Torture, 1801, extracted from The Punishments of China/ Les Punitions des Chinois, by George Henry Mason (author) and J. Dadley (engraver), published by W. Bulmer and Co., for William Miller, comprised of 21 of the original set of 22 engravings (lacking plate 8, “Punishing an Interpreter”) and the accompanying explanations of the torture methods in English and French, image sizes 5 in. x 9 in. to 8 1/2 in. x 12 3/4 in., mounted on original paper passe-partouts, sheet size 11 1/2 in. x 16 5/8 in. $700/1000




603. Chinese School, early 20th c., “Traveling Shops”, a collection of 24 illustrations, ink and color on paper, variously depicting a figural procession, children playing, and vendors and their wares, each inscribed, loose paper “cover” inscribed in English “Dorothy Rowe” and “Book Illustrations”, each sheet 5 1/2 in. x 6 3/8 in. $600/800 Provenance: With Dorothy Rowe March (1898-1969); thence by descent to her daughter, Judith March Davis. Note: According to David Hogge, archivist at the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution, the recent biography of Dorothy Rowe March, Pagoda Dreamer, by Judith March Davis “is an absorbing tale of a bright, independent woman whose upbringing in China both contrasted to and informed her response to a later life of tragedies and hardship”. Dorothy Rowe was married to Benjamin Franklin March Jr. (1899-1934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931). Dorothy Rowe March published four books on China, including a children’s book titled Traveling Shops (1929). March’s daughter and biographer posits that the current lot of 24 illustrations may have been submitted for that work. 604. A Group of Four Chinese Ivory Vanity Accessories, including three circular boxes and a vase, each decorated with scenic landscapes, each inscribed and sealed, box heights 5 1/2 in., 2 1/8 in. and 1 7/8 in., diameters 3 3/8 in., 4 in. and 3 in., vase height 6 in. $1000/1500 Provenance: Florida Collection. W 605. A Chinese Porcelain Cricket Box, 19th c., square

reticulated cover over a rectangular open box raised on a plinth base with square feet, decorated in iron red, gilt and powder blue enamels, height 2 3/8 in., width 2 in., depth 2 in. Note: glue repair. $300/500


W 607. A Pair of Chinese

Cloisonné Enamel Baluster Vases, probably Qing Dynasty (1644-1911), each decorated with eight 606 double xi characters for “double happiness” amid other auspicious emblems on a mottled pink ground, base with four character mark “...Tang zhi”, height 12 3/8 in. $500/700 W 608. Two Chinese Carved and Stained Ivory Chess Sets,

the first set carved with the 32 pieces raised on “puzzle” ball stands, 16 stained, largest height 7 in., hinged wood case, height 5 in., width 21 1/4 in., depth 10 1/2 in.; the second complete set carved in typical European fashion with king, queen, rook, knight and pawns, 16 stained, king height 4 in., hinged gilt lacquered wood case bearing labels “Made in Hong Kong” and “Guaranteed African Tusk/Tsung King Kee Ivory Factory/Hong Kong”, height 4 3/8 in., width 17 3/4 in., depth 9 in. $700/900


609. A Pair of Chinese Polychrome Painted Cast Iron Figures of Buddhistic Lions, Qing Dynasty (1644-1911), the ferocious pair modeled in mirror image seated on their haunches, the male with his right forepaw resting on a brocade ball, the female’s forepaw resting on a cub, height 10 1/4 in., width 5 3/4 in., depth 9 3/4 in.

Provenance: New Orleans Collector.


606. A Chinese Blue and White Porcelain ‘Garlic’ Neck Vase, Kangxi mark but probably late 19th c., ovoid body with splayed cylindrical neck issuing a flattened globular mouth, decorated overall with Animals of the Zodiac, height 10 1/4 in.

W denotes the lot is illustrated at


610. A Mughal Celadon Jade Hilted Steel Dagger, the large pale celadon jade hilt tapering to a rounded scroll terminal carved with leaves and flower heads, issuing a curved double edged steel blade with medial ridge, jade height 5 1/2 in., width 2 1/2 in., overall length 13 1/4 in.

W 618. A Chinese

Cinnabar Lacquer Circular Box and Cover, Qing Dynasty (1644-1911), globular body raised on a circular foot ring, the domed cover with a central roundel enclosing three figures beneath a tree amid mountains and rocks, the sides with diapering, height 4 in., diameter 7 in. Note: condition.



$400/600 Provenance: With Benjamin Franklin March, Jr., (1899-1934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family.

611. A Chinese Celadon Jade Circular Box and Cover, carved in the form of a stylized lotus pod, the sides incised with leaves, the cover with a central circular medallion incised with seeds, height 1 3/8 in., diameter 2 1/8 in.

W 619. A Group of Five Antique

$800/1200 W 612. A Chinese White Jade Boy

and Water Buffalo Group, milky white stone carved as a water buffalo with a young boy seated on its back pulling the beast’s head toward him by a rope hooked to its nose, height 1 1/8 in., width 1 7/ 8in.



Chinese Bronzes, including a bronze rectangular buckle with a rounded edge, bearing a label presumably written by Benjamin March stating “Reputed T’ang. / Purchased in Peiping [?] / & given by / Sam Wilson / A.A. 28 XI 33”, length 3 in.; a handled vessel, height 2 1/2 in., width 4 3/4 in.; a pair of miniature tripod dings, height 1 1/4 in., and a miniature tripod ding, base with Xuande marks, height 1 3/4 in., width 2 7/8 in. $400/600 Provenance: With Benjamin Franklin March, Jr. (18991934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family.

W 613. A Chinese Red Soapstone Seal,

cylindrical body surmounted by three coiled dragons contesting the flaming pearl, carved chop, height 5 7/8 in., diameter 2 3/8 in. $400/600

W 620. A Group of Four Antique

Provenance: Florida Collection.

Chinese Carved and Painted Wood Figures, probably Qing Dynasty (1644-1911) or earlier, comprised of two dignitaries, each height 7 1/8 in., raised on lotus pedestal plinths, overall height 8 1/4 in.; a Luohan, height 9 1/2 in.; and a seated Buddha (losses), height 4 in.

W 614. A Chinese Carved Wood Ruyi

Scepter, naturalistic reticulated knotty wood shaft carved to the top with the reclining figure of the drunken poet Li Bai, the ruyi terminal surmounted by a bat, length 16 7/8 in.


$700/900 Provenance: Florida Collection. 615. A Chinese Carved Wood Brush Pot, probably Jichimu wood, the naturalistic trunk form carved to one side with multiple figures in a landscape set with rocks and trees, inscribed and sealed, height 7 5/8 in., width 6 3/8 in. $800/1200 Provenance: Florida Collection.

W 617. A Large Chinese Yellow,

Orange and Russet Soapstone Scholar’s Mountain, naturalistic boulder form carved to the front with three sages viewing a long scroll within a mountain landscape set with a cascading waterfall, pine trees and palm beneath a small temple in the distance, the two sides carved with winding stairs, height 7 1/2 in., width 13 1/4 in.

W 616. A Chinese Archaistic Brownish


Yellow Jade Vessel, bowl form body raised on a waisted foot ring carved to the side with two large qilin dragons forming the handles, incised with phoenix birds, height 4 in., width 8 3/4 in.

Provenance: Florida Collection.

$600/800 Provenance: Florida Collection.


$200/400 Provenance: With Benjamin Franklin March, Jr. (18991934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family. W 621. A Chinese Polychrome and Gilt

Carved Wood Figure of a Monk, probably Ming Dynasty (1368-1644), male figure carved with voluminous robes and seated on a rectangular plinth, height 6 3/8 in., width 2 7/8 in. $300/500 Provenance: With Benjamin Franklin March, Jr. (18991934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family.

622. A Chinese Polychromed and Gessoed Carved Wood Figure of a Luohan, probably Ming Dynasty (1368-1644), the bald standing figure wearing long robes and holding both hands in anjali mudra at his chest, height 14 3/4 in. $400/600 Provenance: With Benjamin Franklin March, Jr. (1899-1934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family. Note: The figure appears to retain the original layer of gesso-paint decoration over linen which subsequently has been painted over with a gilt varnish. W 623. A Chinese Sichuan


625 (1 of 2)

Pottery Figure of a Horse, probably Han Dynasty (206 BC - 220 AD), modeled standing with its four legs rendered in an arc, height 4 1/2 in., width 4 1/2 in., mounted to a wood plank. Note: Repair to nose.


W 627. A Chinese Flambé

Glazed Porcelain Vase, probably 19th c., elongated baluster body with broad shoulders and a tall cylindrical neck with a rolled mouth, the glaze of rich red streaked with lavender, cream and blue, pooling toward the unglazed foot ring, height 9 in.

$150/250 Provenance: With Benjamin Franklin March Jr. (1899-1934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family. W 624. A Chinese Cizhou-Style

Miniature Pottery Figure of a Horse, probably Yuan Dynasty (1271-1368), modeled standing foursquare wearing a saddle and bridle, with dark brown glaze to the upper portion, height 1 3/4 in., width 2 7/8 in.

$600/800 Provenance: Acquired from the Estate of John Keefe (1942-2011), curator of Decorative Arts, New Orleans Museum of Art (1983-2011).

$200/300 Provenance: With Benjamin Franklin March, Jr. (1899-1934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family. 625. Chinese School, 19th c., after Gao Qipei (1660-1734), two finger paintings, “Elephant and Man” and “Fisherman with Cormorants”, each ink and color on paper, each with apocryphal inscriptions and seals upper left, each with Christie’s, New York, labels, 45 3/4 in. x 27 7/8 in., mounted as hanging scrolls. $1000/1500 Provenance: With Benjamin Franklin March, Jr. (1899-1934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family. 626. A Chinese Embroidered Blue Silk Dragon Robe, Qing Dynasty, 19th c., worked in couched gold threads with satin stitch highlights with nine five-clawed dragons in flight amid Buddhist emblems above a wide lishui hem, blue cotton lining, approx. height 52 in. Note: Condition. $400/600 Provenance: Acquired in China 1960s by members of the U.S. State Department; thence to current owner, c. 1989.

W 628. A Chinese Fahua

Glazed Porcelain Sleeve Vase, Qing Dynasty (16441911), cylinder body with slightly flared neck and foot, the central section with two rectangular “frames” enclosing the ribbon wrapped symbols of the “Four Accomplishments”, the qin and weiqi board incised within one raised frame and the scrolls and books within the other, height 10 3/4 in. Note: Base drilled, minor chips. 626

$300/500 Provenance: New Orleans Collector. 629. A Chinese Parcel Gilt and Polychrome Decorated Bronze Figure of a High Daoist Official, early 19th c., the bearded official, possibly Tianguan, modeled with handsome chiseled features, standing upright on a rectangular plinth wearing long robes and a seven lobed cap, holding a hu tablet before his chest, height 13 3/4 in. $800/1200 Provenance: With Benjamin Franklin March Jr. (1899-1934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family. W denotes the lot is illustrated at


W 633. A Chinese Enameled Paktong

Box, late 19th/early 20th c., of rounded rectangular form, relief decorated to the cover with a raised panel enclosing leafy branches and a spider, the sides incised with floral roundels on a geometrically patterned blue enamel ground, height 2 3/4 in., width 3 1/4 in. $250/350 Provenance: With Benjamin Franklin March, Jr. (1899-1934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family. W 634. Two Chinese Paktong

Handwarmers, 19th c., one of oval form, the other of rectangular form, each with a floral-pierced domed cover, heights 3 3/4 in., widths 4 1/4 in. and 4 1/2 in. respectively. $400/600 635


W 631. Two Chinese Silver

Filigree and Cabochon Turquoise Bracelets, each of five part construction, the first set with three turquoise cabochons, surrounded by raised floral and shou character decoration; the second set with twenty-seven turquoise cabochons, surrounded by raised chrysanthemum head decoration, each marked “silver”. $150/250 W 632. A Set of Three


W 630. Two Chinese Ornaments, Qing Dynasty

(1644-1911), including a kingfisher feather embellished openwork pendant later mounted as a pin, the mounts marked “PAT 2066969”, height 2 1/4 in., width 3 1/4 in. (Note: Losses to feathers;) and a porcelain shard mounted gilt bronze oval belt buckle, the porcelain with copper red and blue decoration of a fish in water, the gilt bronze incised on the underside with leafy vines, height 2 3/8 in., width 3 3/4 in. $400/600 Provenance: With Benjamin Franklin March Jr. (1899-1934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family.


Chinese Cloisonné Enamel Small Dishes, late 19th/early 20th c., circular bodies with steep walls and concave wells, raised on tapering circular feet, decorated throughout in rose colored wire with a profusion of scrolling vines and scattered flower heads, height 7/8 in., diameter 3 1/8 in. $250/350 Provenance: With Benjamin Franklin March, Jr. (1899-1934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family.

635. Chinese School, 20th c., “The Tower of Buddhist Incense, Longevity Hill, Summer Palace, Beijing”, in the manner of Wu Zuoren (Chinese, 1908-1997), oil on paper mounted to linen, bearing “Zuoren” signature in Chinese and dated “1945” lower right, 36 in. x 24 in., framed. $800/1200 636. A Chinese Reticulated Famille Rose Porcelain Double Vase, Qianlong mark but probably Modern, the outer vase with tapering ovoid body issuing a broad sloping shoulder and a flared cylindrical neck with an upright mouth, the sides with a wide band of pierced openwork design set with four carved roundels enclosing pairs of fish swimming amid waves and aquatic plants, the neck and shoulder vibrantly enameled with pairs of pendant fish, floral heads and leafy floral vines on a yellow diaper ground, the openwork sides carved to reveal an inner cylindrical vase with blue and white flowering vine decoration, base with apocryphal Qianlong seal mark, height 15 7/8 in. $600/800 637. A Chinese Iron Red and Gilt Decorated Porcelain Dragon and Phoenix Charger, Qianlong mark but 20th c., the interior with a large writhing dragon and phoenix contesting a flaming pearl, the exterior with five bats, base with apocryphal Qianlong mark, height 3 1/4 in., diameter 16 7/8 in. $800/1200

W 638. A Chinese Famille

643. A Chinese Creamy White Jade Belt Hook, Qing Dynasty (1644-1911), carved in an elegant curve with a dragon head terminal and a circular knop to the reverse, length 3 1/8 in.

Rose Porcelain Vase, Qianlong mark but 20th c., baluster body decorated to the exterior with pink prunus blossoms on a gilt-painted “cracked ice” ground, the interior and base with pale blue glaze, base with apocryphal Qianlong seal mark, height 7 1/2 in.

$500/700 Provenance: New Orleans Collection.

$300/500 W 639. A Chinese Famille

Rose Porcelain Baluster Vase, boldly enameled to one side with finger citron, pomegranate, peach, peony, chrysanthemum, and flowering prunus branches, the other side profusely inscribed, height 17 1/4 in., now mounted as a lamp.



$400/600 Provenance: New Orleans Collection; acquired Skinner, Boston.


W 645. A Chinese

W 640. A Pair of Chinese

Doucai Porcelain ‘Lotus Pond’ Wine Cups, Chenghua marks but 20th c., each U-form body with a slightly flared rim delicately enameled along the exterior with ducks swimming amid lotus and other aquatic plants, each base with apocryphal Chenghua mark, height 1 1/2 in., diameter 3 1/4 in.

644. A Chinese Lavender Agate Water Coup, probably 19th c., carved as a curled leaf borne on a flowering branch surmounted by a small toad, height 1 3/8 in., length 3 5/8 in., fitted wood stand, overall height 2 5/8 in.

Soapstone Seal, rectangular body surmounted by a coiled serpent, incised around the sides with a continuous landscape scene, one side inscribed, carved chop, height 3 1/8 in., width 2 in., depth 1 1/4 in. 643

$400/600 Provenance: New Orleans Collection; acquired Skinner, Boston.

$300/500 W 646. A Pair of Chinese

641. An Antique Chinese Soapstone Seal, rectangular form with sloping rounded head, finely relief carved to one side with a scene of Liu Hai, the Daoist god of wealth and prosperity, playfully dangling a string of cash before Chan Chu, the three legged toad, the figures cleverly carved utilizing the natural yellow of the stone, uncarved chop, height 3 1/2 in. $500/700 Provenance: With Benjamin Franklin March Jr. (1899-1934), Curator of Asiatic Arts, Detroit Institute of Arts (1927-1931); thence by descent in his family.

Embroidered Silk Sleeve Bands, probably early 20th c., each worked in polychrome and satin stitch on a cream silk ground with a pair of butterflies in flight amid iris, peony and bamboo, sight 18 1/4 in. x 5 1/2 in., matted and framed. $200/400 644

W 647. A Pair of Chinese

Embroidered Silk Sleeve Bands, 19th c., picked out in satin and knot stitch with couched metallic thread, depicting female figures in a garden landscape on a cream silk ground, sewn together, sight 20 3/4 in. x 8 1/2 in., framed. $300/500

W 642. A Chinese White Jade or Onyx Figure of a

“Spotted” Horse, creamy white stone with russet “spot” inclusions carved as a standing horse wearing a halter, height 2 7/8 in., width 4 5/8 in., presented on a fabric wrapped stand, overall height 3 3/8 in. $500/700 Provenance: With Benjamin Franklin March, Jr. (1899-1934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family.

648. A Chinese Dark Grey, Green and Russet Jade Scholar’s Mountain, naturalistic boulder form carved to the front with a scholar kneeling beside a pavilion beneath an old gnarled pine, stepped in the distance with mountains, trees, a pavilion and a full moon, grey, russet and green skin, height 7 7/8 in., width 3 7/8 in. $600/800 Provenance: Florida Collection. W denotes the lot is illustrated at


W 652. A Chinese Spinach Green Jade

Bamboo and Rock Group, carved as two entwined bamboo stalks emerging from a rock outcropping, height 10 1/2 in., width 3 1/2 in. $400/600 Provenance: Florida Collection. Note: Bamboo (humility) and rocks (steadfastness) paired together represent the virtuous qualities of a Confucian gentleman. W 653. Chinese School, 19th c.,

probably Canton, a group of six watercolors on pith paper depicting various figures, four sight 4 1/4 in. x 3 in.; two 5 1/4 in. x 3 1/2 in., mounted on raw silk and framed together. Note: Condition. $400/600



654. A Monumental Chinese KangxiStyle Famille Noire Porcelain Tea Jar, probably 19th c., the bulbous baluster body and domed cover with allover scrolling peony design, the tall neck with an iron strap joining the body and cover, height 25 in. $3000/5000

W 650. A Chinese

Yellowish Red Soapstone Seal, rectangular body surmounted by two crouching Buddhist lions turned to face one another over a draped brocade ball, carved chop, height 4 in., width 3 7/8 in., depth 2 in. $400/600 Provenance: Florida Collection.

W 655. A Pair of Chinese Kangxi-

Style Famille Verte Biscuit Glazed Buddhist Lions, Qing Dynasty, probably 18th c., each figure modeled standing on a leaf-form plinth, the male with its front paw resting above a rotating brocade ball, height 3 7/8 in.; together with a green glazed miniature baluster vase incised with floral decoration, height 2 1/4 in., Note: losses and repairs to Buddhist lions (3 pcs.) $300/500

W 651. A Group of Three


Chinese Reticulated Jade Carvings, first of pale brownish white jade carved as entwined lingzhi fungus, finger citron and peaches, height 1 3/4 in., width 6 3/4 in.; second of pale greyish white jade carved as a sinuous dragon amid peanuts, gourds, grasses and flowers, height 3 1/4 in., width 4 7/8 in.; third of celadon and russet jade carved as a sinuous dragon and a carp above waves and lotus, height 4 7/8 in., width 5 in. $700/900

649. A Pair of Chinese Cloisonné Enamel CraneForm Pricket Stands, the birds modeled standing upright upon naturalistic mounds enameled with grasses and fungi, carrying in their beaks upright pine sprays which terminate in the pricket spikes, removable bodies, backs and bobêches, heights 20 in. $700/900


Provenance: Florida Collection.

Provenance: With Benjamin Franklin March Jr. (1899-1934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family. 656. A Chinese Flambé Glazed Porcelain Vase, bulging rectangular body with vertical ridges, covered in a deep red glaze streaked with blue, cream and lavender, height 13 7/8 in., drilled and mounted as a lamp. $400/600 Provenance: Acquired from a Houston, TX Estate. W 657. A Chinese Flambé Glazed

Porcelain Baluster Vase, probably late 19th c., streaked sang-de-boeuf glaze thinning to purple and mushroom around the flared rim, height 14 7/8 in., now drilled and mounted as a lamp with pierced Chinoiserie gilt bronze mounts. $500/700

658. A Chinese Flambé Glazed Porcelain Baluster Vase, globular body with cylindrical flared neck and a ridged shoulder raised on a waisted foot, covered in a rich purplish-red glaze with lavender streaks, height 14 in., drilled and mounted as a lamp. $400/600 Provenance: Descended in a Houston Family; acquired by the current owner, c. 1990. 659. A Chinese Guan-Type Porcelain Vase, probably 18th/19th c., baluster body with overall bluish green glaze with wide golden yellow crackle, height 8 1/8 in. $400/600 Provenance: By repute, sold along with the contents of the St. Charles Hotel, New Orleans, LA, 1974; acquired by the current owner c. 2005.



661. Chinese School, 20th c, “Mountainous Landscape with Figures”, possibly Zhang Daqian (1899-1983), ink and color on paper, inscribed and sealed upper left, 50 in. x 22 1/8 in., mounted as a hanging scroll. Note: Small loss to upper right corner.


$1000/1500 Provenance: Washington State Collector.

W 660. A Group of

Four Chinese Guan Type Porcelain Vases, probably early 20th c., three of bottle form with globular bodies, waisted splayed feet and tall cylinder necks, the fourth of baluster form with a tapering ovoid body, waisted splayed foot and waisted flared neck, each with bluish green glaze with wide crackle, unglazed foot rims, heights 7 in. to 7 1/4 in. $600/800 Provenance: Acquired from the Estate of Dr. Hubert C. Skinner (1929-2009), Professor of Geology and Paleontology at Tulane University, New Orleans, LA.

662. A Chinese Polychrome Decorated Porcelain Vase, Qianlong mark but probably Republican Period (1911-1949), baluster body with cylindrical neck and flared steep mouth raised on a short waisted foot, decorated with a continuous scene of figures boating in a landscape set with mountains, trees and a pavilion, inscribed to one side, base with apocryphal Qianlong seal mark, height 10 1/4 in. $600/800 Provenance: Washington Collector, acquired by descent in the family of Zhao Xiwu (1918-2001), well-known herbal medicine practitioner in Beijing.



663. A Chinese Polychrome Enameled Porcelain Vase, Shen De Tang Zhi mark but 20th c., signed by the Jingdezhen artist Cheng Aiguo (b. 1958), the ovoid body with a waisted flared neck raised on a slightly waisted foot, decorated with a mountainous landscape of figures set in a raised fence garden with multiple pavilions above a lake, inscribed and sealed, recessed base with apocryphal Shen De Tang Zhi mark beneath an inscription, height 8 1/2 in. $600/800 Provenance: New Orleans Collector.

W denotes the lot is illustrated at


664. A Pair of Chinese Jade and Hardstone Trees Set in Cloisonné Enamel Jardinières, realistically rendered “bark” trees with fabric wrapped branches issuing various colorful hardstone leaves, flowers and fruit, set in rectangular cloisonné jardinières with “Precious Antique” design on a powder blue ground strewn with stylized flower heads and vines, each approx. height 24 1/2 in., width 11 3/4 in., depth 7 1/2 in.

W 669. A Chinese

Greyish Green and Russet Jade Scholar’s Mountain, naturalistic boulder form carved to the front with two figures standing and seated before a table with a pavilion in the distance, framed on the sides by pine trees, russet skin, height 4 in., width 6 3/8 in. $600/800 Provenance: Florida Collection. W 670. A Chinese Rock



W 665. Two Chinese Ink

Stones, early 20th c. or earlier, the first of rectangular form, carved to the front with a vase, the mouth forming the crevice, the reverse inscribed, height 6 7/8 in., width 4 5/8 in., depth 1 1/8 in.; the second of square form, carved with an inner raised square surrounded by a well, the reverse with archaistic cash motifs, two sides inscribed, height 5 1/4 in., width 5 3/8 in., depth 1 1/4 in.

$400/600 Provenance: New Orleans Collection. W 671. A Group of Four Chinese

$400/600 Provenance: With Benjamin Franklin March, Jr. (1899-1934); curator of Asiatic Art, Detroit Institute of Arts (19271931); thence by descent in his family. 666. A Chinese White Jade Peanut Form Box and Cover, finely carved of a single piece of white jade in the form of a large peanut-pod borne on leafy branches and smaller pods, the cover with further leafy branches, small pods, and a beetle, the base and cover joined by a jade link chain, height 2 1/4 in., width 3 3/8 in. $1000/1500 W 667. A Chinese Pale Celadon Jade

or Hardstone Vase and Cover, baluster body with splayed neck and foot with pairs of upright flange handles above scroll handles carved with loose rings, the domed cover surmounted by an openwork stylized mask further hung with rings, height 10 3/8 in., width 5 1/2 in., wood stand, overall height 11 1/2 in. $600/800


Crystal Dog and a Spinach Green Jade Plinth, probably 19th c., the rock crystal dog carved recumbent resting its head upon its front paws, length 1 5/8 in.; the jade plinth carved in oval form, height 7/8 in., width 1 3/4 in.



W 668. A Chinese White Jade Phoenix

and Peony Group, carved as a phoenix standing beside a large blossoming peony with a smaller bird at its feet, height 4 7/8 in., width 5 in. $400/600 Provenance: Florida Collection.

Qingbai and Dehua Porcelain Figures, Ming/Qing Dynasty, including two Qingbai figures of smiling ladies, probably Ming Dynasty (1368-1644), each standing robed figure raised on an unglazed plinth, with bluish white glaze overall, height 6 1/4 in. and 7 in.; a Dehua ‘blanc-dechine’ figure of a Buddhist lion, 17th/18th c., the seated figure raised on a rectangular plinth, allover creamy white glaze, height 4 7/8 in.; and a figure of a Guanyin, probably 19th c., seated robed figure with overall creamy white crackle glaze, pierced base, height 4 1/2 in. $600/800 Provenance: Acquired from the Estate of John Keefe (1942-2011), curator of Decorative Arts, New Orleans Museum of Art (1983-2011). 672. A Chinese or Indian Ivory Scepter, the shaft of tapering form with a makara head terminal, length 19 in. $500/700 Provenance: Florida Collection.

673. Chinese School, 20th c., “Snow Falling at Night on a Mountainous Setting”, ink and color on paper with gofun highlights, signed “Guang Hai”, dated 1931 or 1991 and sealed upper left, sealed upper right, sight 42 1/2 in. x 13 1/4 in., mounted and framed.

679. A Pair of Chinese Jade Trees Set in Cloisonné Enamel Jardinières, naturalistic “bark” trunks with fabric wrapped branches issuing translucent celadon jade fruit and flowers and spinach green jade leaves, raised in slightly tapering round cloisonné enamel pots with bird and flower decoration, each approx. height 19 3/4 in., approx. width 28 in.



W 674. Chinese School, 20th c.,

“Mountainous Landscape with House”, ink and color on paper, signed “Guang Hai”, dated 1931 or 1991 and sealed upper right, sight 37 7/8 in. x 12 3/4 in., mounted and framed.

W 680. A Pair of Chinese Cloisonné

Enamel Covered Jars, each globular body with a waisted neck and foot and double dome cover surmounted by a Buddhistic lion, decorated overall with raised cloisonné design of vining flowers on a gilt metal ground, each height 6 1/4 in., wood stands, overall heights 7 5/8 in.

$400/600 W 675. Chinese School, 20th c., “Grape

Vines”, ink and color on paper, signed “Guang Hai”, dated 1933 or 1993, and sealed upper right, sight 42 in. x 12 3/4 in., mounted and framed.

$600/800 Provenance: Florida Collection.

$400/600 W 681. A Chinese Smokey Grey Agate

‘Fecundity and Immortality’ Carving, carved in openwork form with entwined lingzhi fungi, finger citron, peanuts, pomegranates and peaches, length 11 1/4 in.

W 676. A Chinese Famille Rose Porcelain

Vase, probably early 20th c., ovoid body with waisted foot, flared neck and steep upright rim, decorated with multiple pairs of birds perched, standing, swimming and flying amid and above colorful rocks and flowers, inscribed and sealed, height 12 in., drilled and mounted as a lamp.

$500/700 Provenance: Florida Collection.

$300/500 W 677. A Chinese Wucai Porcelain Stem

Bowl and Cover, Dou, Yongzheng mark but 20th c., globular bowl raised on a spreading stem foot, the domed cover with a spherical knop finial, base with apocryphal six character Yongzheng mark in a line, height 7 7/8 in.

W 682. A Large Chinese Lavender Grey

and White Agate Scholar’s Mountain, naturalistic boulder form carved to the front with two figures sharing tea beneath a towering old pine tree, its exposed roots rising from the rocks below, height 10 in., width 9 1/2 in.


$800/1200 Provenance: Florida Collection. W 683. A Large

Chinese Mottled GreyProvenance: New Green Jade Orleans Collector. Reticulated 679 Carving, modeled on a W 678. A curved plane with Chinese Bronze a dragon head Jardinière, 20th c., tapering square form raised on suppressed bun terminal surmounted by another dragon contesting the flaming pearl, feet relief decorated to three sides with dragons in pursuit of flaming the underside with an oval knop, height 4 3/4 in., length 17 5/8 in. pearls, the forth with a recessed inscription panel bearing apocryphal $500/700 Qianlong marks, the rim further decorated with character roundels, Provenance: Florida Collection. height 4 in., width 6 1/2 in., depth 6 1/2 in. $300/500

$300/500 Provenance: Collection of Texas Antiquarians, Jack and Kate Wheeler.

W 684. A Chinese Mottled Green Jade Ruyi Scepter, S-form

shaft carved with entwined lingzhi sprays and finishing in ruyi terminals, length 8 1/4 in. $400/600

W denotes the lot is illustrated at


W 685. A Group of Three Chinese

691. A Group of Three Antique Chinese and Japanese Bronze Mirrors, including a Chinese Tang style bronze ‘Lion and Grapevine’ mirror, the central knob formed by a crouching zoomorphic figure surrounded by four figures set amid flowering grapevines, the outer well with birds in flight amid further grapevines, diameter 3 3/4 in., set in a carved wood stand, overall height 6 1/4 in.; a Chinese mirror with a central pierced knob surrounded by four characters raised within squares, diameter 4 1/4 in.; and a Japanese paddle-form hand mirror relief decorated with a garden landscape, height 9 3/4 in., diameter 6 5/8 in.

Jade Slides and Hooks, the first a sword slide of deep spinach green jade, carved to the top with two dragons contesting a flaming pearl, height 1 5/8 in., length 6 1/4 in.; the second a belt hook of celadon jade, carved with confronting dragon head terminals and entwined lingzhi sprays, height 1 3/ 8 in., length 6 3/4 in.; the third a sword slide of yellowish brown jade or soapstone, relief carved to the top with archaistic zoomorphic motifs, height 2 in., width 1 1/2 in. $600/800 Provenance: Florida Collection.

$500/700 W 686. A Chinese Archaistic Celadon


and Russet Red Jade Dragon Group, carved in the form of a large striding horned dragon surmounted by a ferocious qilong, height 4 1/2 in., length 8 in.

Provenance: Acquired from the Estate of John Keefe (1942-2011), curator of Decorative Arts, New Orleans Museum of Art (1983-2011). W 692. An Assortment of Fourteen

Chinese Carved Wood Display Stands, various shapes and sizes, one of reticulated leaf form, 12 of circular form, one square, square width 9 1/4 in., depth 9 1/4 in.

$800/1200 Provenance: Florida Collection. W 687. Two Chinese Archaistic


Green Jade Dragon Groups, larger carved as a striding dragon raised on a rectangular plinth and surmounted by a lion, mottled green stone with russet inclusions and “calcification”, height 3 1/4 in., length 10 5/8 in.; smaller carved as a qilong standing with its bifurcated tail upright and surmounted by a bird, grey-green stone with russet inclusions and “calcification”, height 3 1/2 in., length 5 3/4 in.

W 693. A Group Five Chinese Snuff


$600/800 Provenance: Florida Collection.

Bottles, the first, pale green quartz or bowenite, deeply carved to each side with a serpent dragon holding a lingzhi spray, stopper, height 2 3/4 in.; the second, cloisonné enamel inset gilt metal, base with apocryphal Qianlong seal mark, stopper, height 3 in.; the third, green glass, stopper, height 2 1/4 in.; the fourth, blue glass, stopper, height 2 1/4 in., the fifth mixed metal stopper, height 3 3/4 in. $400/600

W 688. Two Chinese Embroidered Silk

Panels, the first of quadrilobed form embroidered with a flower vase, stars, and ruyi clouds, picked out in silver and gold couched threads and polychrome satin stitch, height 8 1/2 in., width 8 1/2 in.; the second of rectangular form, embroidered with a central fish amid water reeds, picked out in gold couched threads and polychrome satin stitch, height 9 7/8 in., width 4 7/8 in., each mounted and framed, overall 12 3/4 in. x 11 1/4 in.

W 694. Two Chinese Snuff Bottles, the


$200/300 W 690. A Pair of Chinese Bronze

689. A Pair of Chinese Soapstone Covered Vases, the columnar bodies of variegated cream and grey stone carved with grapes and grapevines, the adhered domed covers surmounted by squirrels and grapes, each raised on an orange and grey soapstone tripod base, height 11 1/4 in., bases drilled and mounted as lamps to faux soapstone painted wood bases. Note: Small losses. $300/500


Vases, probably early 20th c., each circular body relief modeled with a procession of figures in a landscape set with trees and clouds, raised on a splayed stem foot and issuing a cylindrical flared neck with tubular handles and an upright steep mouth, height 17 7/8 in., width 10 1/4 in. $600/800

first, carved stone with a well-hollowed flattened globular body and cylindrical neck raised on an oval foot ring, stopper, height 2 7/8 in.; the second, carved glass with an ovoid body with tapering neck and circular foot ring, carved through the four color overlay with bats and ruyi clouds to a semi-clear ground, stopper, height 2 1/4 in. Note: Losses and glue repairs to glass bottle. $200/400 695. A Chinese Creamy White Jade Snuff Bottle, well hollowed creamy white and russet stone carved in flattened circular form with squared sloping sides, raised on a rectangular foot ring and issuing a cylindrical neck, stopper, height 2 5/8 in. $300/500

W 696. A Chinese Celadon Jade

702. A Pair of Japanese Relief Decorated Enameled, Silvered and Gilded Bronze Baluster Vases, Meiji Period (1868-1912), tapering ovoid bodies with waisted flared necks, relief decorated with birds in flight amid seasonal flowering branches, the patinated bronze with enamel, silvered and gilt highlights, base inset with inscription cartouche, heights 11 3/4 in.

Snuff Bottle, well hollowed body of flattened globular form carved to the sides with ogre masks and fauxring handles, raised on an oval foot and issuing a cylindrical neck with a wide flat mouth rim, stopper, height 2 1/2 in. $300/500 W 697. A Chinese Agate Snuff

Bottle, well hollowed translucent globular body carved to one side with a horse lying recumbent amid lingzhi fungus, flat oval foot and tall cylindrical neck with a wide flat mouth rim, stopper, height 3 1/8 in.

$800/1200 703. A Pair of Japanese Mixed Metal Baluster Vases, Meiji Period (1868-1912), each tapering ovoid body with sloping shoulders and banded flared necks raised on an intrinsic tripod base, incised and inlaid around the body with cranes wading in water amid water reeds, each signed along the side, each base inscribed, heights 4 7/8 in.


$300/500 W 698. A Chinese White Glass

Snuff Bottle, well hollowed spade form body with a tall cylindrical neck and wide mouth rim raised on an oval foot, stopper lacking spoon, height 2 7/8 in.

$400/600 W 704. A Japanese Ivory


Netsuke and Associated Chinese Ivory Stand, 19th c. or earlier, the netsuke carved in pouch form with stylized joined handles, height 1 1/4 in., width 1 1/4 in.; the stand carved in dish form, diameter 1 1/2 in.

W 699. After Sesshu Toyo

(Japanese, 1420-1506), early 20th c., a copy of the famous 1486 hand scroll called “Sansui Chokan” or “Landscape of the Four Seasons”, height 14 3/4 in., approx. length 54 ft., wood storage box.


$150/250 Provenance: With Benjamin Franklin March, Jr. (1899-1934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family.

$800/1200 Provenance: With Benjamin Franklin March, Jr. (1899-1934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family.

W 705. A Japanese Cloisonné

700. Japanese School, early 20th c., “Water Buffalo Resting beneath a Tree”, ink on paper, signed lower right, 10 in. x 14 1/2 in., mounted as a hanging scroll.

Enamel Baluster Vase, Meiji Period (1868-1912), ovoid body with a waisted flared neck tapering to a slightly splayed foot, decorated with shield cartouches radiating from a banded midsection, height 8 1/2 in.



Provenance: With Benjamin Franklin March, Jr. (1899-1934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family.

W 706. A Japanese Stoneware

W 701. A Set of Four Japanese

Illustrated Albums, Meiji Period (1868-1912), each accordion fold album with eighteen double width images of flowers of the four seasons, each image inscribed and sealed, covers bound in pale blue silk damask, one album with loose piece of note paper inscribed “Koishi/Shoseki/Koseki”, each album height 9 7/8 in., width 7 1/4 in. (4 pcs.) $400/600 Provenance: With Benjamin Franklin March, Jr. (1899-1934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family.

Teabowl, Chawan, rounded interior and sides with a brown glaze pooling toward an unglazed base and foot ring, base with impressed signature, height 3 in., depth 4 3/8 in.


$100/150 W 707. A Japanese Kutani Stoneware Bowl and Flask, the

bowl decorated to the interior with a bird and flowering branches, the exterior with vine sprays, height 2 in., diameter 6 1/4 in.; the flask of pinched ovoid form decorated with bird and flower panels, partially obliterated fuku mark to base, height 8 1/4 in. $200/300 W denotes the lot is illustrated at



708. A Japanese Painted and Embroidered Silk Robe, Haori, late Meiji/early Taisho, early 20th c., brown and beige silk painted with water, rocks and a magnificent leaping carp, satin stitch and gold couched thread highlights, height 39 1/2 in., width 31 1/2 in. $300/500 W 709. A Japanese Polychrome Decorated Bone

Okimono of an Amorous Couple, two figures carved reclining on a curved plantain leaf reading a book, a coiled dragon at their feet and three children beside their heads, length 11 in., wood stand, overall height 6 in., length 11 3/4 in. $500/700 W 710. A Japanese Polychrome Decorated Bone

Okimono of a Reclining Beauty, Bijin, carved resting on a plantain leaf wearing long robes open at the chest with two children at her head, length 10 in., wood stand, overall height 5 in., length 11 1/4 in. $400/600 W 711. A Japanese Bone Mounted Tanto Knife,

curved blade with bone hilt and scabbard carved with figural decoration, overall length 12 in. $200/300


Session Two Sunday, November 20, 11 am 3923 Carondelet Street

W denotes the lot is illustrated at


716. A Burmese Gilt Lacquer PapierMâché Figure of Buddha, 19th c., modeled seated in vajrasana on a lotus pedestal base with his hands held in bhumishparsha mudra, the tightly knotted hair with a top knot lacking finial, wearing a serene expression and a downcast gaze, height 22 1/2 in., width 16 in.


$500/700 Provenance: Acquired Singapore, 1986. W 717. A Burmese

Mandalay-Style Polychrome and Gilt Wood Figure of Buddha, carved standing on a lotus pedestal base holding long, glass-jewel inset robes open with both hands, the tightly knotted hair worn in a top knot and held by a glass-jewel inset tiara, the face with a serene expression and a downcast gaze, height 44 in., width 19 1/4 in., mounted to a wood plinth, overall height 50 in.


712. A Saudi Arabian Painted Wood Courtyard Door, six vertical panels with three horizontal strap panels, painted to one side with pinwheel roundels within geometric banded squares, the reverse with carved wood locking device, height 6 1/2 in., width 34 5/8 in., depth 3 1/2 in.




W 718.

713. An Antique Ottoman Carved Teak and BrassMounted Dowry Chest, 19th c., lock clasp stamped “M.A.R.”, dovetailed construction, interior fitted with lidded compartment, height 13 7/8 in., width 36 in., depth 15 1/4 in. $500/700 714. A Japanese Highly Carved Hardwood Writing Desk, Meiji Period (18681912), “Arthur & Bond/ Yokohama” retailer’s stamp, shaped back with shelves and compartments on each side, incurvate beaded and incised writing surface above two drawers, on phoenix carved cabriole legs, height 47 in., width 52 in., depth 24 in.

715. An Antique Chinese Carved Hardwood Tabouret, shaped, beaded top with inset rouge marble, pierced pea vine carved frieze, stylized dragon’s head legs ending in paw feet, incurvate square stretcher, height 23 in., width 18 in., depth 18 in.






Katsushika Hokusai (Japanese, 1760-1849), “Rice being Pounded into Sake”, woodblock print, sheet 8 3/8 in. x 14 1/2 in.; and after Hokusai, “Farmers Harvesting Salt with a View of Mount Fuji in the Distance”, early 20th c. reproduction woodblock, sheet 9 3/4 in. x 13 7/8 in. $400/600 Provenance: Acquired Japan, 1919; thence by descent in the family.

W 719. Hiroshige (1797-1849), “Ronin

Crossing a Bridge at Night on the Way to Moronao’s Castle”, a scene from Act XI, episode 1, of the kabuki play Kanadehon Chushingura (Treasury of Loyal Retainers), woodblock print, sheet 9 3/4 in. x 14 1/8 in. Note: condition. $300/500 Provenance: With Benjamin Franklin March, Jr. (1899-1934), curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family. W 720. Kasamatsu Shiro (Japanese,

1898-1991), “Misty Evening at Shinobazu Pond”, woodblock print, sheet 15 1/4 in. x 10 1/2 in. $300/500 Provenance: With Benjamin Franklin March, Jr. (1899-1934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family. W 721. Two Japanese Woodblock

Prints, late 18th/early 19th c., including a single print depicting an actor by Utagawa Toyokuni (1769-1825), sheet 14 1/8 in. x 9 5/8 in.; and a triptych depicting a battle scene from the 1898 Sino-Japanese war by Kobayashi Kiyochika (1847-1915), joined sheets, overall 14 1/2 in. x 28 in. $300/500 Provenance: With Benjamin Franklin March, Jr. (1899-1934), Curator of Asiatic Art, Detroit Institute of Arts (1927-1931); thence by descent in his family. W 722. A Chinese Polychrome

Painted “Wedding” Basket, three tiered barrel form with domed cover held by strap handle with circular finial, the cover painted with auspicious bats, the body with floral decoration, height 27 in., width 16 3/4 in.

723 (1 of 4)


W 725. A Large

Chinese Famille Rose Porcelain Vase, bulbous body decorated with two large cartouches enclosing flowering and fruiting peach sprays, lingzhi fungus and bats, between smaller figural landscape cartouches, the neck with spotted with flower sprays, the leaves picked out in vibrant gilt, base with apocryphal Qianlong mark, height 23 3/4 in., wood stand, overall height 32 1/2 in.


W 728. A Southeast Asian Bronze


$300/500 Provenance: Acquired Hong Kong, 1992. 723. Chinese School, 19th c., probably Canton, a group of four watercolors on paper depicting elegantly attired men and women, each with a “Gallery 181, London” label en verso, each sight 12 3/4 in. x 8 3/4 in., matted and framed alike. $400/600 W 724. A Japanese Blue and White

Porcelain Sake Cask, c. 1900, drum form body with domed top and loop handles flanking a central aperture, freely decorated to one side above an opening at the base, porcelain height 14 in., now mounted as a lamp. $200/300

726. A Chinese Brass-Bound Hardwood Chest, camphorwood lining, hinged top opening to void interior, bracket feet, height 23 5/8 in., width 41 in., depth 20 in. $500/750


W 727. An Islamic Cairoware Tray

and Mother-of-Pearl Inlaid Carved Wood Folding Stand, 19th/20th c., mixed metal circular tray decorated with brass, copper and silver script cartouches; the stand with turned legs and bobbin turned stretchers, overall height 23 in., diameter 25 3/4 in. $300/500

Rain Drum, cylindrical splayed base with two raised boss bands extending up the sides and concentric bands encircling the base, the wide neck with raised bands and strap handles supporting a flat circular top with a central raised starburst encircled by raised concentric bands and surmounted by four graduated frog groups, height 20 1/2 in., diameter 13 1/4 in.

729. A Tibetan Gilt Bronze Figure of Buddha, modeled seated upon a separately cast lotus pedestal base in vajrasana baring exposed foot soles, his right hand raised in abhaya mudra and his left held above his lap, wearing robes relief detailed with Buddhist emblems and foliate designs, the knotted hair worn high in a finialed top knot, height 15 1/4 in., width 10 1/4 in. $600/800 Provenance: Acquired Hong Kong, mid-1990s.

W denotes the lot is illustrated at


W 731. A Burmese

W 732. A Group of Five Indo-Persian

Kammavaca Manuscript, late 19th c., sixteen leaves and two covers, each 5 in. x 23 3/4 in., mounted and divided into three frames: five leaves and front cover; six leaves; and five leaves and back cover, each frame height 43 1/2 in., width 29 5/8 in.

Miniatures, ink, color and gilt on paper, each with figural landscapes, sights: 10 1/4 in. x 7 1/4 in.; 10 3/4 in. x 7 3/4 in.; 10 3/4 in. x 7 1/4 in.; and 9 1/2 in. x 6 1/4 in., each attractively matted and framed.



Provenance: Acquired Hong Kong, 1988.


$600/800 W 733. Two Thai Illuminated

Manuscript Leaves, ink, color and gilt on paper, each sight 13 in. x 10 in., matted and framed alike.

734. A Pair of Middle Eastern Carved Hardwood Armchairs, labeled M. Hayat & Bros., Peshawar, Pakistan, spindled backs with bulbous finials, spindled arms, rush seats on bulbous turned legs. $800/1200 735. A Pair of Chinese Ming-Style Blue and White Covered Jars, the baluster bodies with a continuous outdoor figural scene between concentric meandering vine banding at the shoulder and geometric banding around the slightly flared foot, with finial surmounted domed covers, height 24 in. $1200/1800 736. A Continental Brass Skeleton Clock, 20th c., modeled after the “Great Wheel” antique clocks of the 19th c., enameled dial, presented under blown glass dome on ebonized oval stand, height 20 in., width 14 in., depth 8 in.



737. A Fine American Ebonized, GiltIncised, and Gilt Bronze-Mounted Credenza, mid-19th c., stamped “Gustave Herter, NY”, black marble top above two short drawers and two cabinet doors with beribboned patinated bronze plaques of cavorting putti, canted corners with scrolled anthemion carving, conforming plinth base, height 45 1/2 in., width 54 in., depth 21 in.

W 730. A

Nepalese Dharani Buddhist Prayer Manuscript, ten leaves and two covers, the leaves: ink and color on paper, decorated with calligraphy and Buddhist miniatures, the covers: carved and painted wood, each leaf 3 1/2 in. x 13 1/4 in., float mounted and framed, overall height 55 3/4 in., width 17 3/8 in. $600/800



$3000/5000 Note: The forceful Neo-Grec style of this cabinet is indicative of the work of Gustave Herter in the early 1860’s. A cabinet branded “G. Herter/New York” in the collection of Ian Berke has scroll and palmette stiles identical to those on the cabinet here. Reference: Voorsanger. “Gustave Herter, Cabinetmaker and Decorator”, Magazine Antiques, (May 1995), p. 744, pl. V.


W 738. Two Antique Bamboo and

739. An American Rococo Carved Mahogany Pier Table, mid-19th c., serpentine marble top with rounded corners, foliate carved frieze, mirrored back flanked by foliate lyre supports, cove molded plinth, shaped foliate-carved base, height 38 in., width 40 1/4 in., depth 18 in.

742. A Suite of Six Benchmade American Rococo-Style Carved Mahogany Side Chairs and Dining Table, 20th c., Ruppert Kohlmaier, New Orleans, rose carved pierced crests, leaf and rose splats, serpentine seat rail, blue leather seats with nailhead trim, cabriole legs; the table in the Louis XVI taste with serpentine top, shaped skirt, one leaf, cabriole legs, table height 30 1/2 in., width 72 in., depth 41 1/2 in.



Lacquered Occasional Tables, c. 1900, each with lacquered top, splayed legs, stretcher shelf, height 26 1/4 in., width 19 1/4 in., depth 18 1/4 in. and height 27 in., width 22 in., depth 22 1/2 in. $300/500

739 W 740. A Rare

American Walnut Adjustable Easy Chair, c. 1881, labeled “Manufactured for F.M. Dillie & Co., 162 Elm Street, Cincinnati, pat. Feb. 5, 1881”. $300/500 Reference: Thirty-First Annual Report of the Indiana State Board of Agriculture Vol. XXIII. 1881, p. 164.

741. An American Classical-Style Spiral-Turned Green Marble Pedestal, 19th c., square swivel top, turned column, stepped octagonal base, in three parts, height 31 in., width 14 in., depth 14 in. $300/500 741


743. A Pair of American Renaissance Carved Walnut Bedside Commodes, 19th c., each with marble top above a foliate-carved drawer, paneled door, molded base, blocked feet, casters, height 31 in., width 17 in., depth 16 in. $700/1000 W 744. An American Classical Mahogany Commode, c. 1830,

original marble top, molded frieze, crossbanded door, shelf interior, molded base, casters, height 30 1/4 in., width 20 1/2 in., depth 17 1/4 in. $300/500 743

W denotes the lot is illustrated at



745. An American Rococo Carved and Laminated Rosewood Parlour Suite, mid19th c., attributed to J. & J.W. Meeks, New York, in the pattern known as “Stanton Hall”, comprising a sofa, armchair and two side chairs, each gadrooned pierced crest with floral cartouche, scrolled arms and cabriole legs, the side chairs with casters, sofa height 47 1/2 in., width 65 in., depth 26 1/2 in. $4000/6000


746. A Pair of American Rococo Carved and Laminated Rosewood Side Chairs, mid-19th c., attributed to J. & J.W. Meeks, New York, in the pattern known as “Stanton Hall”, each with gadrooned and pierced arched crest centered by a floral cartouche, C and S scrolled pierced stiles, serpentine carved seat rail, cabriole legs, casters. $2000/3000 747. A Régence-Style Carved and Gilded Mirror, crest with scrolled flora and a pair of birds, divided mirror plate, height 68 1/2 in., width 37 1/2 in. $1500/2500 W 748. A Pair of English or American Carved Mahogany

Footstools, mid-to-late 19th c., stylized tulip needlepoint upholstery, suppressed ball feet. $400/600



749. An American Aesthetic Carved Mahogany Newel Post, 19th c., carved with lamb’s tongue and guilloche borders, paneled tiers, height 64 in., width 18 1/2 in., depth 18 1/2 in. $800/1200 Provenance: The Old Warren Easton Senior High School, Canal St. 750. A Georgian-Style Carved Mahogany Server, late 19th c., shaped, stiff leaf carved top, with ovolo corners, three frieze drawers, stopfluted, foliate and reeded tapering legs, on carved oviform feet, height 36 in., width 62 in., depth 21 in.




$700/1000 751. An Antique Italian NeoclassicalStyle Inlaid Cabinet, 19th c., crossbanded top, shelf interior, tapered square legs, bookmatched veneers and string inlay throughout, height 35 3/4 in., width 37 7/8 in., depth 13 1/4 in. $400/600 752. A Louis Philippe Green Variegated Marble and BronzeMounted Pedestal, tapered body with busts and figural mounts, plinth base, height 43 in., width 14 in., depth 11 in. $800/1200 W 753. A Greek Orthodox Icon of

“Nikolaos of Myra (St. Nicholas)”, late 19th/early 20th c., inscribed in Greek, tempera on wood panel, 16 1/4 in. x 9 1/2 in. $600/900



754. A Russian Orthodox Icon of “Scenes of the Life of Christ”, late 19th/ early 20th c., including the visit of the Magi, and Baptism, tempera and gold paint on wood panel, inscriptions in Cyrillic, 14 1/4 in. x 12 1/4 in. $600/900 W 755. A Greek Orthodox

Icon of a “Male and Female Saint with Christ Enthroned”, late 19th/early 20th c., tempera and gold paint on wood, intricately patterned background, 17 3/4 in. x 15 in. $600/900


756. English School, 19th c., “Tattershall Castle”, oil on wood panel, unsigned, 10 3/4 in. x 13 3/4 in., in a later frame. $600/900 W denotes the lot is illustrated at


760. An American Sterling Silver Repoussé Tea Caddy and Box, the tea caddy Shreve, Crump & Low, Boston, c. 1885; the box Frank M. Whiting, North Attleboro, MA, c. 1890; tea caddy height 4 1/4 in., box height 2 1/4 in., combined weight 7.80 troy ozs.

760 759

$400/600 W 761. A Group of


Sterling Silver Serving Pieces, including 13 tablespoons, some slotted, 4 handwrought long handled serving pieces and a sterling silver stilton cheese scoop with a wood handle, combined weight 43.90 troy ozs. (18 pcs.)


$1200/1800 762. A Set of Twelve French Silver and Mother-ofPearl Melon Forks, 19th c., marked “TOURON”/”BREVETE/S.G.D.G.”, maker’s mark and standard mark, length 8 1/4 in. $250/350 763. A Black, Starr and Gorham Sterling Silver After Dinner Coffee Pot and Creamer, New York, c. 1940, with pineapple finial and fruitwood handles, coffeepot height 9 1/2 in., combined weight 20.20 troy ozs.


W 757. A Pair of French Églomisé


Paintings, 19th c., including “The Country Estate” and “The Chinese Village”, each oil on glass, unsigned, each 6 3/4 in. x 8 1/2 in., framed alike.

764. A Pair of Antique Gorham Silverplate Entree Dishes, circular dishes having die-stamped and beaded borders, wild boar finials, height 5 in., diameter 9 3/4 in.

$600/900 Provenance: Christie’s, New York, Oct. 26, 1999, lot 179.

$300/500 W 758. A French Hand Colored

Lithograph of “Regiment des Arguebusiers”, late 19th c., handwritten inscriptions: “1745/Louis XV” upper center, “Alfred de Marbot del.” lower left, “G. David lith.” lower right, and “54/Regiment de Arguebusiers de Grassin”, sight 13 in. x 9 in., matted and framed. Note: foxing. $200/300



759. A Handsome Antique Silverplate Tea Tray, octagonal with beaded border, Renaissance Revival chasing, 23 1/2 in. x 18 1/2 in.

765. A Pair of Art Nouveau Sterling Silver Salad Servers, Reed & Barton, “Love Disarmed” pattern introduced in 1900, pierced fork and broad fluted spoon, length 10 1/2 in., weight 15.20 troy ozs.



W 766. A Gorham “Imperial

Chrysanthemum” Pattern Salad Serving Fork and Spoon, pat. 1894, monogrammed “ED”, weight 7.80 troy ozs. $300/500 W 767. A Set of Twelve Mother-of-

Pearl Handled Dinner Knives and Twelve Luncheon Knives, lengths 9 1/4 in., and 8 in. respectively. $400/600 W 768. An American Sterling Silver

Repoussé After-Dinner Coffee Pot, marked BB & R, “estate” condition, weight approx. 10 troy ozs.


$300/500 W 769. A Group of Sterling Silver and Silverplate Ice

Cream, Ramekin and Cocktail Forks. including a set of 12 Dominick & Haff “Martha Washington”, 10 Gorham “Buttercup” and others, 12 silverplate ramekin forks and 5 matching cocktail forks, combined weight (weighable) 41.30 troy ozs. (83 pcs.)


$1000/1500 W 770. A Group of Small Continental Silver Objects,

including a set of 10 twist handle plique-a-jour demitasse spoons with a pair of matching sugar nips, marked .925; a twist handle pick; a shallow dish, covered box with embossed genre scene on one side and a king on horseback on the other; and a miniature tankard, hinged cover with figure, total weight 8.40 troy ozs., (14 pcs.) $150/250


W 771. A Group of Baltimore Sterling Silver

Repoussé Tableware, including a condiment bowl and ladle, S. Kirk & Son, c. 1935; and a pair of salt and pepper castors, Otto Faber, c. 1890; bowl height 3 in., castor height 3 3/4 in., combined weight 9.20 troy ozs. $400/600 772. A Set of Four Antique English Silverplate Candlesticks, each with shaped circular base, baluster stem and removable bobêche in the Rococo taste, weighted bases, height 12 in. $700/1000 W 773. A Georgian-Style Silverplate Cruet Stand,

quadrilobed stand with elaborate C-scroll legs on shell pad feet, two cruets of tear drop form with vintage pattern cut work design, and two silverplate casters, height 8 in. $300/500 W 774. An Antique American Alabaster and Brass

Banquet Lamp, late 19th c., satin finish, diapered shade, over cut-glass font, raised on brass-mounted Corinthian column, molded plinth base, hung with prisms, height 31 in., diameter 10 in. $400/600

775. A Jordanian Gilt and Patinated Bronze and Cast Glass Lamp, 20th c., fluted finial, the octagonal body fitted with multicolored cast glass blocks, on boldly scrolled feet, height 31 in., diameter 13 in. $700/1000 W 776. [French Theater], Le

Theatre de T. Corneille, 1740, published chez Z. Chatelain, nouvelle edition, 5 volumes, full calf, with illustrations, 5 in. x 3 3/4 in. $200/300 777. An English Papier-Mâché and Mother-of-Pearl Inlaid Barometer, mid-19th c., incorporating a thermometer, hygrometer and level indicator, height 38 in., width 13 in., depth 1 1/2 in. $400/600


778. A Victorian Pale Lime Green and Opaline Blown Glass Epergne, late 19th c., probably Stourbridge, in the Venetian manner, the ruffled bowl with domical center supporting a gilt brass holder and three smaller lily-form vases, height 13 in., diameter 10 in. Note: Lacking center vase. $400/600

W denotes the lot is illustrated at


781. French School, late 19th c., “Heron Feeding”, bronze, the delicately modeled bird with elegantly curved neck, a hapless frog clutched in its beak, partial paper label listing item as from collection of Thomas Chapman in interior, height 11 3/4 in.


$1000/1500 Provenance: Purportedly made for Irish Baronet Sir Thomas Chapman; Private Collector.


Note: Sir Thomas Robert Tighe Chapman (1846-1919), the 7th - and last – Baronet of Westmeath, Ireland, was a wealthy and prominent Anglo-Irish landowner most well known for being the father of Thomas Edward Lawrence (later known as Lawrence of Arabia). In 1885 the family governess, Sarah Lawrence, became pregnant by Chapman; he eventually left his wife and four daughters to move in with Lawrence, with whom he had four sons. Effectively socially destroyed, Chapman spent the rest of his life as Thomas Lawrence (in part to spare his wife and daughters any additional shame). Since all of Chapman’s sons were illegitimate, the baronetcy ended at his death.


782. A Pair of Continental Bronze Figures of Nude Bacchantes, late 19th c., one playing the flute, the other horns, each height 12 in. $500/700



W 779. A Victorian Fiery Opalescent Blue Blown

Glass Epergne, late 19th c., probably Stourbridge, in the Venetian manner, the ruffled bowl with asymmetrical rim decorated with inverted rain drops, the domical center issuing a central finely ribbed trumpet vase and three corresponding smaller vases, height 17 in., diameter 11 in. $300/500

780. Antoine-Louis Barye (French, 1795-1875), “A Striding Lioness”, bronze, inscribed “Barye” on front of base and “FG. Barbedienne. Fondeur” on rear of base, numbered “664/P” in ink and incised “6” on interior, height 4 1/4 in., length 8 3/4 in.

783. An Antique Italian Bronze of “Narcissus”, after the antique, a reduced cast of the original from Pompeii (discovered 1862), now in the Museo Nationale, Naples, height 15 1/4 in. $500/750 W 784. Two Antique Canes, late 19th c.,

one a carved ivory dog head; the other ivorine with portrait bust, bamboo shaft, with hidden dagger. $200/300

$500/700 785. A Pair of Napoleon III Gilt Bronze Three-Light Candelabra, c. 1870, torch-form standard, trumpet supports, height 16 in., diameter 11 in. $700/1000


W 786. A Pair of Sèvres-Style Bronze-

Mounted Vases, 20th c., cobalt ground, the reserves painted with courting couples and landscapes, overall raised gilt decoration, on wood bases, mounted as lamps, height of each vase 16 1/4 in., width 8 3/4 in., depth 6 1/4 in. $600/900 787. A Luneville Art Pottery BronzeMounted Jardinière, late 19th c., molded insert, boldly scrolled base decorated with irises and dragonflies, glazed in greens, browns, and gold, height 11 1/4 in., diameter 10 1/4 in. $500/700 788. A Pair of Louis XVI-Style Marble and Gilt Bronze-Mounted Urns, fitted as lamps, loop handles, encircled with floral garlands, the base with foliate collar and border, height 21 in., diameter 7 in.



$1000/1500 W 789. A Pair of Continental

Patinated Bronze Figural Ewers, each modeled as a satyr drinking, holding the horns of a ram, fluted and lobed socle, foliate decoration, on molded marble base, height 16 3/4 in., width 8 1/2 in., depth 6 in.

791. Alfred Hazledine (Belgian, 1876-1954), “Au Soire, Après le Pluie (Evening after Rain), Bruges”, early 20th c., oil on canvas, signed lower right, titled on card en verso of stretcher, 25 3/4 in. x 31 3/4 in., in a period carved, gessoed, and giltwood frame.



790. A Monumental Royal Bonn Porcelain Covered Urn, c. 1900, fully marked, foliate design, gilt highlights, with scroll finial and handles, height 30 in., width 16 in., depth 11 in.

792. Continental School, late 19th/early 20th c., “Autumnal River Landscape”, oil on canvas, signed “Rasonce” lower left, 24 in. x 32 in., in a cove-molded carved and giltwood frame. 788




792 W denotes the lot is illustrated at


795. An American Classical Carved Mahogany Games Table, early 19th c., Philadelphia, possibly Joseph Barry, reeded foldover top, molded frieze with acanthus carved tablet, turned standard on stepped circular plinth, acanthus carved hipped saber legs, ending in paw feet, height 28 1/4 in., width 37 in., depth 36 1/2 in. $1500/2500

795 793

Note: The foliate tablet on the frieze, the ring turnings terminating the standard, and the distinctive legs on this table are very similar to those on a table conserved by the Philadelphia Museum of Art. The distinctive carved feet on this table are possibly indicative of the workshop of Joseph Barry; similar feet are on a pole screen attributed to Barry from the Kennedy family of Philadelphia. Reference: Boor. Philadelphia Empire Furniture. p. 208, fig. 81; Fennimore and Trump. “Joseph B. Barry, Philadelphia Cabinet Maker”, Magazine Antiques. (May 1989), p. 1223, pl. XIV.




793. A George III Ebonized and Gilt Decorated Armchair, late 18th c., caned back and seat, shaped arms, square tapered legs, height 33 in. Note: Surface variably distressed and later. $400/600 794. A George III Carved Mahogany Tilt-Top Candlestand, c. 1760, dished top, vasiform stem, arched legs, slipper feet, height 29 in., diameter 23 in. $700/1000 Provenance: Estate of Julia Badger, Grand Rivers, KY.


796. An American Classical Carved Mahogany Center Table, early 19th c., in the manner of J. & J.W. Meeks, segmented octagonal top, boldly flared stem, incurvate plinth, arched scrolled legs, casters, height 28 in., width 41 in., depth 41 in.


797. An Antique Continental Walnut, Marquetry and BrassMounted Bureau de Dame, brass gallery, fall front with a domed marquetry panel, fitted kingwood interior, leather writing surface, shaped apron, cabriole legs, height 37 1/4 in., width 33 1/2 in., depth 19 1/2 in. $700/1000



798. A Georgian-Style Carved Mahogany Three Pedestal Dining Table, top with reeded edge, tapered pedestals with reeded legs, brass paw feet, casters, height 29 in., length 108 1/4 in., width 48 in. $1500/2000 W 799. A Suite of Eight Federal-Style

Mahogany Dining Chairs, comprised of two arm and six side chairs, each with shield back, serpentine seat, fluted tapered legs. $800/1200 800. An American Late Federal Carved Mahogany Wing Chair, late 18th/early 19th c., probably Mid-Atlantic, of typical form, serpentine crest, scrolled arms, turned front legs, height 43 in., width 34 1/2 in., depth 35 1/2 in.


$800/1200 801. A Large French Provincial Fruitwood Buffet, 19th c., shaped and molded top, the case of three drawers over three doors, cabriole legs, height 43 3/8 in., width 73 in., depth 22 1/2 in. $1000/1500



802. A Set of Four Antique Directoire-Style Mahogany and Brass Inlaid Side Chairs, tablet back with diamond inlay, scrolled stiles, horseshoe shaped seats with diamond inlaid blocks, turned tapered legs, black horsehair upholstery. $500/750

803. An American Renaissance Carved Rosewood Étagère Cabinet, c. 1860, New York, arched crest centered with a floral pendant, shaped shelves connected by spindled uprights flanking a beveled mirror, molded marble top above a long drawer and arched paneled doors, canted strapwork carved corners, molded base, disc feet, height 91 in., width 37 in., depth 20 in. $2000/3000

W denotes the lot is illustrated at



805. A Pair of American Classical Brass Andirons, c. 1830, with turned and reeded bodies with double finial log stops, on original billet bars, height 27 1/2 in., depth 23 in. $1200/1800 W 806. An


Antique Regency-Style Carved Giltwood Overmantel Mirror, 19th c., blocked covemolded pediment with spherule ornamentation, barley-twist columns, divided mirror plate, height 26 1/2 in., width 63 1/2 in. $400/600

W 807. An American Rococo Ebonized and Gilt


804 . An American Neo-Grec Carved and Highly Figured Burl Walnut Bedroom Suite, c. 1880, comprised of bedstead, mirrored dresser, and armoire; each with spindled crest, the bed with paneled headboard surmounting paired griffins, bracketed rails, low conforming foot board; the dresser with mirrored back, marble top, three paneled and boss decorated drawers, molded base, retaining original hardware; the armoire having a divided interior of shelves and hanging compartment above paneled drawers, molded base, block feet; bedstead height 110 in., length 76 in., width 57 1/2 in., armoire height 105 in., width 61 in., depth 25 in.; dresser height 103 in., width 53 in., depth 21 in. $5000/8000


Overmantel Mirror, mid-to-late 19th c., molded frame with arched top and grapevine crest, strapwork molding, height 45 in., width 25 1/4 in. $700/1000 808. An Antique Continental Patinated Metal Figure of a Renaissance Warrior, in fanciful armor, on a dragon-decorated base, once wired as a lamp, height 35 3/4 in. $300/500





809. François Mage (French, act. 1910), “Draped Female Figure”, early 20th c., bronze, inscribed “MAGE” on rear of bench, on a shaped rouge marble plinth, height 17 1/4 in. $700/1000 810. A Napoleon III Carved Black Marble Mantel Clock, c. 1860, striking bell movement marked “Japy Fils.”, porcelain dial with visible escapement, the chamfered case with fluting and bead molding, height 14 in., width 12 3/4 in., depth 6 3/4 in. $700/1000


811. An American Aesthetic Ebonized and Gilded Mirror, late 19th c., anthemion incised coved molded frame, gilt anthemion inner molding, height 67 1/2 in., width 43 in. $700/1000 Provenance: Maison Hospitaliere, 1220 Dauphine St., New Orleans. 812. A Louis XV-Style Giltwood Overmantel Mirror, 19th c., arched foliate crest with shield cartouche, molded surround with beaded rabbet and rocaille mounts, height 77 in., width 48 in.

813. An Antique RégenceStyle Carved and Giltwood Console Table, late 19th c., black marble top, highly carved apron with central cartouche and floral garland, foliate legs joined by stretchers, height 33 in., width 53 1/2 in., depth 22 in. $1500/2500

$1000/1500 W denotes the lot is illustrated at



814. A Pair of Antique Louis XVIStyle Carved and Gilded Bergères, 19th c., arched guilloche carved crest, scrolled arms, rosette blocks, tapered fluted legs. $1000/1500 816

815. An American Aesthetic Mahogany and Upholstered Armchair, late 19th c., rectangular back, padded arms, shaped uprights, rectangular seat, shaped legs, casters. 815

$500/750 Note: The chair presented here is almost identical to one in William Morris’s house, Kelmscott Manor, Oxfordshire, England. Reference: Miers, Mary The English Country House: From the Archives of Country Life, 2009, illus. p. 359.

816. An Antique Continental NeoclassicalStyle Gilt Bronze-Mounted and Carved Oak Linen Press, broken arch crest centered by urn finial, paneled doors flanked by columns opening to linen drawers, three graduated drawers below, block feet, height 101 in., width 63 1/2 in., depth 21 1/2 in. $3000/5000 817. A Fine Pair of Early Louis XVI Carved, Gilded and Crème Peinte Fauteuils, c. 1770, Lyon, oval padded back with beribboned crest rail, padded arms terminating in scrolls, serpentine ribbon-carved seat rail, stop-fluted tapering legs with rosette blocks. $2500/3500 817


818. A Fine Belle Époque Gilt and Patinated Bronze Thirteen-Light Figural Chandelier, c. 1890, foliate corona, issuing gathered ribbons, supporting putto terms, holding torch-form lights, centered by center torch with goat’s head masques, fruit pendant, flame-form shades, height 47 in., diameter 54 in. $7000/9000 819. A Pair of Louis XV-Style SèvresMounted Gilt Bronze SixLight Candelabra, 19th c., tiered candle arms, the central candle cup with removable bouquet finial, putto support, the base inset with Sèvres plaques, height 25 1/4 in., width 9 1/4 in., depth 9 1/2 in.



$2000/3000 820. A Contin­ ental RococoStyle Carved, Gilded and Polychrome “Chinoiserie” Trumeau, 19th c., arched crest with rocaille mount, reserved with a chinoiserie landscape with figures and monkeys, height 72 in., width 44 in.


$1500/2500 821. An Antique Venetian Etched Glass Mirror, the octagonal segmented frame with scrolled crest, etched spiral molding, rosette mounts, height 49 in., width 28 in. 819

$1000/1500 W denotes the lot is illustrated at


822. A Louis XV-Style Porcelain and Gilt Bronze Mantel Clock, green ground vase surmounted with floral bouquet, ram’s head handles, the base cast with fluted columns and floral decoration with putti contemplating their books, height 28 in., width 20 in., depth 9 1/2 in. $800/1200


823. An Antique French Rosewood and Marquetry Wall Clock, c. 1850, silk thread movement, marked “Pons, 1827”, porcelain dial bordered with bronze bezel, hanging finial, height 22 in., width 17 in., depth 5 1/2 in.




824. A French Polychromed and “Bejew­ eled” PapierMâché Center Table, early 20th c., Paris, probably for the “Theatre de L’Opera”, circular top supported by spreadwinged eagles, height 29 in., width 33 1/2 in.


$2500/3500 825. A Pair of American or Continental Gilt Bronze Seven-Light Candelabra, 19th c., in the style of Bruno Paul (1874-1968), three double arms revolving around a central shaft, turned base, height 17 1/8 in., diameter 16 in. $1200/1800 826. An Antique Italian Patinated Bronze Six-Light Colza Chandelier, c. 1860, standard with floral collars, the body cast with acanthus and grotesque masques, fitted for electricity, height 43 in. diameter 44 in. $5000/7500 825


827. An Art Nouveau Polychrome Art Pottery Jardinière on Stand, c. 1900, vessel and stand with impressed marks “A/ JB”, with stylized foliate decoration, height 34 3/4 in., diameter 15 1/2 in. $800/1200 W 828. A Pair of Continental Majolica

Plaques, late 19th/early 20th c., dragon among branches, glazed in blue, greens, red, yellow and brown, modeled in high relief, framed, height 19 1/4 in., width 29 1/2 in., depth 3 3/4 in. $500/700 829. A Patek Philippe 18 kt. Yellow Gold Man’s “Nautilus” Wristwatch, with calendar, automatic movement, integral gold bracelet, with original case and box. $18000/25000 827


830 831

830. An Ivory Bakelite, Yellow Gold, Diamond and Black Pearl Bangle Bracelet, set with a 10 mm. black pearl, total diamond weight approx. 1 ct. $4000/6000 831. A Strand of 29 Tricolor Tahitian Grey Pearls, graduated from 13 mm. to 15 mm. $6000/8000 832. A Strand of Twenty-Nine White/Cream South Sea Pearls, graduated from 12 mm. to 15 mm. $6000/8000 832

W denotes the lot is illustrated at



W 837. A Baume and Mercier 18 kt. Yellow Gold and

Stainless Steel Gentleman’s Wristwatch, “AvantGarde” model, the back with #5138.038/1521312. $600/900 W 838. An American 14 kt. Yellow Gold Hunting Case

Pocket Watch, 17 jewel; together with an American 14 kt. gold Illinois pocket watch.


$600/900 833. A Strand of ThirtyOne Grey/Black South Sea Pearls, graduated from 12 mm. to 15 mm.

W 839. Three Pairs of Vintage Sterling Silver

Cufflinks, including one Mexican pair with Aztec figure, marked Joy-Mex (see The Little Book of Mexican Silver Trade and Hallmarks, p. 85); one cutwork pair marked Walter Wright; and one pair Norwegian with turquoise cabochon (1 with replaced back).

$5000/7000 834. A Pair of Platinum and Diamond Stud Earrings, one set with an old mine cut diamond, the other set with an Old European cut diamond, approx. 2 cts. total weight.


$150/250 W 840. A Good Group of Bristol Glass Objects, 19th c.,

including a pair of cobalt goblets and finger bowls, a cobalt and gilt goblet, and a pair of green finger bowls, (7 pcs.) $300/500


W 841. A Set of Nine Continental Enameled Crystal

Champagne Coupes, fluted bases, painted floral bowls. 835. A Pair of Antique Art Deco 18 kt. Yellow Gold, Diamond and Sapphire Earrings, probably French, each set with 2 old mine cut diamonds and numerous cailbre cut sapphires (some replaced), approx. 1.8 cts. total diamond weight. $2000/3000

$200/400 Provenance: Estate of Flores Sussdorf Howard, to Harry T. Howard, III. W 842. A Pair of Anglo-Irish Cut Crystal Navette-

Form Sweetmeat Compotes and Matching Pair of Master Salts, 19th c., compote height 4 3/4 in. 835

836. An Antique American 14 kt. Yellow Gold Charm Bracelet, with six charms including an Art Nouveau 14 kt. yellow gold and .25 ct. diamond, a rock crystal locket, an owl head with ruby eyes, a “Prudential Old Guard” medallion, and 2 jade figures. $800/1200


$300/500 W 843. A Pair of Regency Cut Glass Decanters, early

19th c., hand-blown and profusely cut with prismatic cut shoulders, retain their original diamond cut hollow blown stoppers, height 10 1/2 in. $400/600 Note: For related examples, see Hughes, G. Bernard. English, Scottish and Irish Table Glass. pp. 301 and 303, Bramhall House Press, New York, 1956.



844. Attributed to C.R. Parker (American, active New Orleans 1826-1848), “Portrait of a Creole Woman”, c. 1840, oil on canvas, unsigned, 30 1/4 in. x 25 1/4 in., in a period frame. $4000/6000 Note: Known for imbuing his sitters with an impression of deep character, C. R. Parker, who painted portraits throughout the South in the 1830s and 1840s, traveled through New Orleans several times and created likenesses of New Orleans society ladies, including Mrs. John Andrews (Penelope Lynch Adams) and the lovely Creole lady pictured in the current lot. In both portraits Parker highlights the sitter’s fashionable dress, hairstyle, and jewelry; the positioning of the arm and hand in this portrait of a Creole Lady parallels that of Mrs. John Andrews. Similarly, the treatment of the facial features in each of these Parker paintings corresponds to his oeuvre in both technique and style.


Reference: National Society of the Colonial Dames of America . Louisiana Portraits. New Orleans: Colonial Dames, 1975, p. 19.

845. Alexander John Drysdale (American/New Orleans, 1870-1934), “A Grove of Live Oaks at Twilight”, pastel on paper, signed lower left, pencil signed and titled en verso, 8 in. x 10 in., attractively matted and framed. $2000/3000 846. Alexander John Drysdale (American/New Orleans, 1870-1909), “Early Morning, Cypress Swamp”, 1909, watercolor on paper, signed and dated lower left, pencil signed, titled and inscribed en verso, 9 1/4 in. x 12 1/8 in., attractively framed. $1500/2500 847. Southern School, 19th c., “The Resort, View by a River”, oil on canvas, unsigned, 15 1/8 in. x 24 in., unframed.



W denotes the lot is illustrated at



848. Edward I.R. Jennings (American/South Carolina, 1828-1929), “Indigo Culture in South Carolina”, and “Cotton and the Cotton-Gin, The South in 1800”, c. 1924, two dioramas with painted and cutout elements, glass and painted wood cases, each 17 in. x 20 3/4 in. x 10 in. $2000/3000 Provenance: The Charleston Museum. 848

Note: Charleston Museum Director Laura Bragg envisioned these dioramas as traveling museum exhibits in the 1920s. They were available to teachers for classroom use, on topics ranging from early civilization to more recent local history, such as the production of cotton and indigo. Each box had a space for printed materials and could be folded up for easy transportation. To create the displays, Bragg enlisted artist Edward I.R. “Ned” Jennings (1898-1929). An active but mysterious participant in the Charleston Renaissance, Jennings had an interest in art theatrics which he combined in work as a set designer, and which made him the perfect artist to create these small stages. Jennings was one of the few Charleston artists of the 1920s to experiment with modernist art. 849. William R. Hollingsworth Jr., (American/Mississippi, 1910-1944), “Portrait of a Man, Jackson, Mississippi”, watercolor on paper, signed lower left, 7 in. x 5 1/2 in., in a period giltwood frame. $2500/3500 Note: William Hollingsworth is best known for his watercolors of the countryside near Jackson, as well as his depictions of African Americans in their environs. In 1937, one of his studies won the William Tuthill prize at an international watercolor show at the Art Institute of Chicago. The work offered here is an attractive example of his intimate portrait studies, conveying a sense of thoughtfulness. An upcoming major retrospective of William Hollingsworth is planned at the Mississippi Museum of Art. 850. Southern School, 19th c., “Low Water in the Mississippi”, oil on canvas, unsigned, 17 1/2 n. x 21 in., period giltwood frame. $800/1200 W 851. Franklin Tuttle (American, 1866-1919), “Portrait of a

Young Woman”, oil on canvas, unsigned, artist identified on original name plate on frame, sight 12 1/2 in. x 8 3/4 in., original frame. 849



852. William Frye (German/ Alabama, 1822-1872), “A Pair of Kentucky Pendant Portraits of a Husband and Wife”, oil on canvas, the man signed en verso “W. Frye/ Pinxit/1866”, 16 7/8 in. x 13 7/8 in., and 15 5/8 in. x 12 3/4 in., in ornate period gilt frames. $3000/5000 Provenance: Private Collection Clinton, Kentucky. Note: William Frye was among the most successful and prolific painters working in Kentucky and Alabama during the mid-19th c. Born in Reslau, Germany, Frye studied art at Heidelberg University. Intrigued by the American Indian stories of James Fenimore Cooper, around 1840 he immigrated to America. By 1845 he moved to Louisville, Kentucky where he opened a portrait studio. Frye opened a second portrait studio two years later in Huntsville, Alabama. In 1865 the Kentucky legislature commissioned Frye to paint a posthumous portrait of Henry Clay. Frye’s career was cut short by mental and physical health problems. Eventually he was committed to the Alabama Insane Hospital, where he died at the age of 50.


Reference: Adams, E. Bryding “William Frye, Artist”, Alabama Heritage, University of Alabama, spring 1994.

W 853. A Colonial-

Style Carved Hardwood Planter’s Chair, arched crest rail, elongated arms, foldout leg supports, bold baluster and ring-turned legs, cane seat.


$500/750 854. An American Federal Inlaid Card Table, c. 1790 and later, probably Baltimore, serpentine foldover top, frieze with shell inlay and banding, square tapered legs inlaid with bellflowers, in “estate” condition, height 28 3/4 in., width 35 1/2 in., depth 17 1/2 in.


856. An American Late Classical Carved Mahogany Dressing Bureau, c. 1830, New York, superstructure with mirror on carved supports above two small drawers; the case with two torus molded drawers over two deep drawers flanked by carved pilasters, raised on acanthine paw feet, height 55 in., width 35 in., depth 21 in.



$800/1200 855. An American Federal Mahogany Chest of Drawers, four graduated drawers flanked by reeded stiles, scalloped skirt, turned and reeded legs on ball feet, height 40 1/2 in., width 43 1/2 in., depth 21 5/8 in. Note: balls on feet are later. $500/750 W denotes the lot is illustrated at




857. An American Classical Carved Mahogany Dining Table, early 19th c., two D end sections, one leaf, ring-turned tapering legs, height 29 in., length 68 1/2 in., width 47 in. $800/1200 858. A Fine New Orleans Carved Rosewood Half Tester Bed, c. 1870, molded tester, tapered faceted posts, the headboard with arched crest centered by an oval medallion, arched paneled foot board, bracketed rails, curved disc feet, height 120 in., length 82 in., width 63 in. $3000/5000 859. An American Late Federal Cherrywood and Tiger Maple Jackson Press, c. 1830, gallery back, two drawers over a pair of doors flanked by engaged columns, bulbous foliate carved feet, cupboard interior with scalloped shelves, height 54 1/2 in., width 48 in., depth 23 in. $2500/3500 Note: Derived from the traditionally larger sideboard, this Southern form known as the “Jackson Press”, was versatile in its use for dining rooms and kitchens. Most closely associated with Tennessee cabinetmakers and named for local hero Andrew Jackson, the Jackson Press was prevalent in the vicinity of Jackson’s home: Davidson County, Montgomery County, and Wilson County, Tennessee. Reference: For related examples see Derita Coleman and Nathan Harsh, The Art and Mystery of Tennessee Furniture and Its Makers Through 1950, chapter XII.

W 860. A Set of Four Antique Louisiana Swamp

Maple Side Chairs, 19th c., each with three shaped slats, finials, trapezoidal hide seats, turned legs, stretchers. 858







861. A Massive Louisiana Walnut and Cypress Armoire, mid-19th c., having a flared cornice above a pair of paneled doors, shelf interior, molded base on bracket feet, height 108 in., width 77 1/2 in., depth 21 1/2 in.

862. An American Classical Mahogany Tester Bed, early 19th c., paired ring and baluster turned brass capped posts with original scrolled paneled headboard, ring and baluster-turned rail, acorn terminals, conforming rails, height 97 in., length 73 1/2 in., width 62 1/2 in.


863. An American Late Federal Mahogany Work Table, School of Haines & Connelly, Philadelphia, elliptical reeded lift top, interior with divided compartments, chamfered corners, single drawer above cross-banded deep drawer flanked by reeded stiles, on reeded tapered legs, height 28 3/4 in., width 26 in., depth 12 3/4 in.

Provenance: Ex-Collection of St. Alphonsus Church, New Orleans; purchased by present owner c. 1990.


864. An American Classical Carved Mahogany Daybed, c. 1830, probably lower Mississippi River Valley, highly carved, turned crest rails terminating in rosettes, ripplemolded arched paneled head and footboard, plain rails, bulbous-turned carved legs, ball feet, height 36 1/4 in., length 74 1/2 in., depth 27 1/2 in. $2000/3000

$800/1200 W denotes the lot is illustrated at



867. Southern School, 19th c., “Portrait of a Lady with her Dog”, oil on canvas, unsigned, 16 in. x 16 in., in a giltwood frame. $3000/4000 867 868. Julia Massie (American/ Louisiana, 1869-1949), “Back Door with Cistern”, “Louisiana Farm” and “Bayou Scene”, three oils on canvas, all signed, 21 in. x 16 in., 10 in. x 16 in., and 13 in. x 10 in. respectively, in the original frames.


865. Alexander John Drysdale (American/ Louisiana, 1870-1934), “Three Oaks, Poydras Plantation”, 1931, oil wash on board, signed, dated and inscribed “SNA” lower left, titled en verso, sight 4 in. x 23 in., matted and framed. $2500/3500 Provenance: Given to a Houma, Louisiana, couple as a wedding gift in 1933; descended in the family.

$1200/1800 Provenance: Descended in a New Orleans family.

866. Achille Perelli (American/New Orleans, 1822-1891), “Nature Morte: Snipe”, watercolor on paper, signed and inscribed “N.O.” lower right, “W.E. Seebold” label en verso, sight 27 in. x 15 in., in a period aesthetic wood frame. $4000/6000 Provenance: Succession of Harry T. Howard III. 868 (1 of 3)




W 871. An Antique

American Cast Iron Hitching Post, 19th c., cast as a figure of a groom standing on a cotton bale, retaining old painted surface, height 46 in., width 15 1/2 in. $700/1000 872. A Fine American Cast Iron Garden Urn, mid-19th c., Kramer Brothers, Dayton, OH, foundry mark on plinth, the body with applied foliate molded decoration, acanthine lion’s head handles, the squat baluster socle on a paneled plinth with foliate reserves, height 52 1/2 in., width 43 1/2 in.


869. Louisiana School, late 19th/early 20th c., “Nature Morte: Redfish”, oil on canvas, unsigned, “Lampe Gallery of Fine Arts, New Orleans” label en verso, 27 3/4 in. x 12 in., in a period frame. $1500/2500 Provenance: Descended in a New Orleans family. 870. A Large Cast Iron Plantation Bell, late 19th c., Blymyer Bros. & Co., foundry mark “B.M. & Co. CIN.O, No. 26”, complete with clapper, wheel and supports, now mounted on a wooden base, height 41 in., diameter 26 in.

$3000/5000 869

873. A French West Indies Carved Mahogany Four Poster Bed, c. 1820 and later, in the style of French Émigrés from Saint-Domingue or St. Thomas, boldly ringturned and vasiform posts on blocked vasiform legs, turnip feet, scrolled ram’s head headboard, height 92 1/2 in., length 84 in., width 77 1/2 in. $7000/9000

$3000/5000 Provenance: A Bayou Teche home, St. Mary Parish, LA. W denotes the lot is illustrated at


876. A Louis XVI Carved Fruitwood Youth Bed, late 18th c., triangular crest, paneled headboard, fluted uprights, tapered fluted feet. $300/500 874


W 877. An

American Classical Carved Mahogany Sofa, c. 18201830, Horace Pippitt, Philadelphia, having an acanthus and cornucopia crest with inlaid tablet, acanthus scrolled arms, molded seat rail, cornucopia bracket feet. $700/1000 Note: Illustrated Boor, Allison, et al. Philadelphia Empire Furniture. p. 365, fig. 220.


874. An American Sheraton Cherrywood Drop-Leaf Table, c. 1810, frieze drawer, turned and reeded legs ending in brass cuffed ball feet, height 30 1/2 in., width 20 3/4 in., depth 42 in. $700/900


875. An American Carved Cherrywood Stepback Cupboard, early 19th c., probably Tennessee, outswept cornice over two paneled doors enclosing shelves, three drawers, lower case with two drawers over paneled doors, turned legs, casters, height 88 1/2 in., width 43 1/4 in., depth 21 1/4 in. $1200/1800


878. An American Federal Walnut Two-Part Corner Cupboard, early 19th c., covemolded cornice, paneled doors flanked by maple pilasters, lower case with three drawers above paneled doors, shaped skirt, bracket feet, height 85 in., width 53 3/4 in., depth 33 1/2 in. $2000/3000

879. An American Federal Inlaid Mahogany Bowfront Server, c. 1810, Massachusetts, top with ovolo corners, reeded stiles, fitted cutlery and bottle drawers, central cupboard, tall turned tapered legs, height 42 in., width 47 1/2 in., depth 23 in. $3000/5000 Provenance: Descended in a Massachusetts and Louisiana Family.


882 (1 of a pair)

880. An American Chippendale Carved Mahogany Games Table, New York, foldover top above thumb molded drawer, scalloped skirt with floral carved tapering cabriole legs, ending in ball and claw feet, height 29 1/2 in., open width 30 in., depth 15 in. Note front right leg needs repair. $750/1000 881. An American Federal Inlaid Mahogany and Birch Chest of Drawers, early 19th c., two banded short drawers over three graduated drawers, shaped apron, “French” feet, string inlay throughout, height 44 1/2 in., width 45 1/2 in., depth 21 in.



882. A Pair of French West Indies Carved Mahogany and Cedar Gardes-Manger, c. 1900, each with shaped backsplash, paneled case with inset screens, on square legs, height 51 1/4 in., width 32 1/4 in., depth 15 3/4 in. $1200/1800 883. John Reed Campbell (American/ New Orleans, 1925-1997), “Land of Cotton”, 1978, oil and acrylic on canvas board, signed and dated lower left, signed and titled en verso, 18 in. x 24 in., in a period frame. $1500/2500

$1000/1500 883

W denotes the lot is illustrated at


886. Ellsworth Woodward (American/New Orleans, 18611939), “Southern Landscape”, oil on board, signed and illegibly inscribed en verso, 8 1/4 in. x 11 1/4 in., in a period frame. $1500/2500 Provenance: From the collection of artist Frank Taylor (active 1932) and his wife Blanche Taylor of Louisville, KY and Beverly Hills, CA; thence by descent.


887. Nicola Marschall (Alabama/Kentucky, 1829-1917), “Portrait of Sarah Ellen Snoot Waring (died November 11, 1870, Mobile, Alabama)”, c. 1850, oil on canvas, unsigned, 29 1/4 in. x 24 1/4 in., in a period giltwood oval frame.



888 885

884. George Rodrigue (American/Louisiana, b. 1944), “Blue Eyes for Me”, 1991, oil on canvas, signed lower right, titled and inscribed en verso, 24 in. x 20 in., attractively framed. $12000/18000 Provenance: Purchased from the artist, 1991. 885. Marilyn Conrad (American/Louisiana, b. 1923), “Louisiana Landscape”, oil on masonite, signed lower right, titled on “Orleans Gallery” label en verso, 36 in. x 47 3/4 in., framed.




Note: Nicola Marschall was a long term guest in the Waring house at 351 Government Street in Mobile, Alabama, 1849-1851. This is one of many portraits by Marschall of the Warings. Patronage by the family continued throughout Marschall’s career. A table, also from the Government street house, is offered in this sale as lot 154. 888. Nicola Marschall (Alabama/ Kentucky, 1829-1917), “Portrait of Marion Moses Waring, (born June 18th, 1843, Mobile, Alabama)”, oil on canvas, unsigned, 30 in. x 25 in., in a period frame. $1800/2500 W 888A. An American Silver-

plate Ladle, Rogers & Bros., “Olive” pattern, engraved in script “Kearney” on upperface, length 13 3/4 in. $75/125 Provenance: Descended in the Waring family, 351 Government Street, Mobile, AL.

889. An American Rococo Carved Rosewood and RosewoodGrained Bedroom Suite, mid-19th c., probably New Orleans, in the manner of Prudent Mallard, comprising a half tester bed, related winged armoire, matching mirror back dressing chest, washstand (lacking backsplash), and bedside commode, bed height 115 in., length 79 in., width 62 1/2 in.; armoire height 107 in., width 82 in., depth 26 in.; dresser height 96 in., width 46 1/2 in., depth 21 in.; washstand height 30 in., width 36 in., depth 28 1/2 in.; commode height 30 in., width 18 in., depth 14 1/2 in. $14000/18000 Provenance: Descended in a noted Aberdeen/Columbus, Mississippi Family.

889 W denotes the lot is illustrated at





891. An American Gilt Lacquered Brass and Bronze Solar Lamp, c. 1845-1855, Cornelius & Co., Philadelphia, labeled, Corinthian column shaft, square marble plinth, period etched and cut shade, chimney and crystal prisms, overall height 28 in. $800/1200 892. An Antique Dutch Brass Twelve-Light Chandelier, 19th c., faceted, vasiform standard, double tiered scrolled arms, now fitted for electricity, height 35 in., diameter 34 in. $800/1200 Provenance: Estate of Grace Jones, Salado, TX.



893. An American Classical Giltwood Pier Mirror, early 19th c., molded frame, blocked boss corners, original gilt surface, later beveled mirror plate, height 46 1/4 in. $700/1000

890. After Mathew Brady (American, 1823-1896), “Portrait of General Robert E. Lee”, oil on tin, unsigned, 39 1/2 in. x 27 in., framed. $800/1200

894. An American Classical Ebonized and Carved Giltwood Looking Glass, 19th c., split baluster frame with rosette blocked corners, floral frieze, height 38 3/4 in., width 18 in.

Provenance: Purchased from a Birmingham, AL estate.


Note: Painted on an “Eye Opener Whiskey” tin advertising sign, the portrait is painted from Brady’s photograph of Lee sitting on the porch of his home in Richmond shortly after the surrender at Appomattox.


895. An American Renaissance Carved Rosewood Bedstead, mid-19th c., John Jelliff, Newark, NJ, having a pedimented head and foot crest, scrolled ends, canted uprights with finials, paneled head and footboard, bracketed conforming rails, retains the original finish, height 48 in., length 73 in., width 56 in. $1200/1800 Provenance: Edwin van Antwerp, 53 Washington Place, Newark, NJ, 1858; Grace Robertson, granddaughter; Trinity Cathedral (Episcopal), Newark, 1989, by gift; The New Jersey Historical Society, Newark, by transfer; acquired by the current owner. Illustrated: Dietz, Ulysses G. “Edwin van Antwerp’s Jelliff Furniture”, Magazine Antiques. April 1990: p. 910, fig. 7. 896. An American Classical Carved and Inlaid Mahogany Games Table, c. 1835, New York, foldover top above inlaid frieze, cylindrical standard with drum plinth, acanthine legs ending in casters, height 30 in., width 36 3/8 in., depth 36 1/2 in. $700/900


896 902

W 897. A Set of Six Antique American Classical-

Style Mahogany Gondola Chairs, early 20th c., scrolled crest above vasiform splat, saber legs, upholstered slip seats.

W 900. An Antique American Paint-Decorated Pie Safe, late 19th c.,


probably Mid-Atlantic, the top above an ebonized molding, paneled doors with inset screen, shelf interior, ebonized corners, tall bracket feet, height 56 in., width 57 in., depth 19 in.

W 898. An American Classical Carved Mahogany


Gentleman’s Dressing Table, c. 1825, superstructure with mirror on turned and blocked supports, over three glove drawers; lower case with two over one long drawer, rope twist and ring turned legs, ball feet, glass pulls, height 68 in., width 35 1/4 in., depth 21 3/4 in.

W 901. An American Classical Carved Walnut Drop-Leaf Dining Table,

19th c., plain skirt, spiral turned legs, casters, height 30 in., width 48 in., depth 24 in. $700/1000

$400/600 Provenance: Deaccessioned by Louisiana Landmark Society, Pitot House. W 899. An American Late Classical Mahogany

902. A Federal Inlaid Mahogany Sideboard, c. 1800, shaped top over conforming case, long drawer above pair of doors, square tapered legs ending in spade feet, height 41 in., width 66 1/2 in., depth 22 in. $1500/2500

Ottoman, mid-19th c., deep ogee frame on bracket feet, height 15 in., width 19 in., depth 20 in. $400/600 W denotes the lot is illustrated at





903. An American Federal-Style Inlaid Mahogany Silver Table, 19th c. and later, reticulated gallery top, straight frieze on square tapered legs, height 33 1/2 in., width 35 in., depth 23 1/2 in. $700/1000 904. Two Benchmade American Wing Chairs, 20th c., Ruppert Kohlmaier, New Orleans, one with arched back, flared wings, scroll arms, upholstered shaped seat rail and cabriole legs; the other with oxbow crest rail, low scroll arms, serpentine seat and square tapered legs ending in spade feet, height 46 in. $1500/2000 905. A Suite of Eight American Chippendale-Style Carved Mahogany Dining Chairs, comprising two arm and six side chairs, arched molded crests above pierced vasiform splats, square molded legs connected by H stretchers. $1500/2500



906. William Hollingsworth, Jr. (American/ Mississippi, 1910-1944), “Portrait of Isabel”, oil on canvas, signed right upper center, 30 in. x 24 in., framed. $5000/7000 Provenance: Descended in the family of Nancy Currie Robinson, a close friend of the Hollingsworth family. Note: A prolific draughtsman, William Hollingsworth was continuously sketching his family and friends. He painted numerous oil portraits of his family, such as the one of his sister Isabel offered here. Most noted for his watercolors, the artist’s oil paintings have a much different feel. Painted in a straight forward, realistic style, the portrait demonstrates the tenderness Hollingsworth felt for his sister.

907. Knute Heldner (Swedish/New Orleans, 1877-1952), “Low Tide, Gloucester Harbor”, oil on canvas laid down on board, signed lower right, titled en verso, 16 in. x 20 in., in a giltwood frame. $2000/3000 908. Selina Elizabeth Bres Gregory (American/New Orleans, 1870-1953), “Mammy”, pen and ink on paper, initialed lower right, titled en verso, sight 5 1/4 in. x 3 in., framed.



$800/1200 Provenance: Collection of Angela Gregory; descended in family. W 909.

American School, 19th c., “Children at Play”, watercolor on paper mounted on canvas, unsigned, sight 9 1/4 in. x 13 1/2 in., matted and framed.


$1000/1500 910. Sidney Edward Dickinson (New York, 1890-1980), “Portrait of a Young Girl Reading”, 1936, oil on canvas, signed and dated lower left, “Grand Central Art Galleries, Inc.” label en verso, 20 in. x 16 in., in a period frame.


$2000/3000 W 913. An American Classical Carved

Mahogany Console Table, early 19th c., the D end top above a conforming frieze on ring-turned, tapered legs, casters, height 28 1/2 in., width 46 in., depth 24 in.

911. Everett Raymond Kinstler (American, b. 1926), “Seated Figure, Maine”, oil on board, signed lower right, with a “Hollis Taggart Galleries, Washington, D.C.” label en verso, 20 in. x 15 7/8 in., framed.


$1500/2500 W 914. An American Gothic Carved Walnut

912. An American Classical Carved Mahogany Games Table, c. 1830, Philadelphia, foldover top on foliate carved support, incurvate plinth, carved legs ending in distinctive paw feet, brass casters, height 28 1/8 in., width 36 in., depth 17 5/8 in.


Side Chair, mid-19th c., arched pierced crest above oval upholstered back, turned stiles with finials, serpentine seat, turned legs, casters. $150/250


W denotes the lot is illustrated at



918. Mildred Nungester Wolfe (American/ Mississippi, 1912-2009), “Whew! S’ Hot!”, gouache on board, signed lower left, titled and inscribed en verso, 16 1/8 in. x 17 7/8 in., attractively matted and framed.



$2000/3000 919. William Posey Silva (American, 1859-1948), “Row Eucalyptus, California Evening”, oil on canvas laid down on board, signed lower right, artist label en verso, 8 in. x 10 in., attractively framed.



916. An Antique French Provincial Farm Table, 19th c., molded plank top, two frieze drawers and small hinged compartment, molded apron, square tapered legs, pegged and mortised construction, height 33 in., width 79 1/2 in., depth 30 in.

920. Arnold E. Turtle (British/ New Orleans, 1892-1954), “Boats in the Harbor”, oil on canvas board, signed lower left, 16 in. x 20 in., in a period frame.





915. An American Classical Mahogany Chest of Drawers, early 19th c., molded top, four drawers, molded base, turned feet, height 42 in., width 43 1/2 in., depth 21 1/2 in.

917. A West Indies Carved Mahogany Drop-Leaf Dining Table, c. 1820, Santo Domingo, ring turned and reeded tapered legs with brass ball feet, height 28 3/4 in., width 25 in., depth 48 1/2 in.




921. Attributed to Arnold E. Turtle (British/ New Orleans, 1892-1954), “Live Oaks, City Park”, oil on canvas board, unsigned, 19 3/4 in. x 22 3/4 in., in a period frame. $1000/1500 W 922. Charles

Kenneth Sibley (American/ Virginia, 19212005), “Ladies”, watercolor on paper, signed lower left, biography of artist from Olde Towne Gallery, Portsmouth, VA en verso, sight 21 3/8 in. x 14 3/8 in., matted and framed.



$800/1200 923. C. Myron Clark (Ameri­ can, 18581925), “Dusk Among the Waves”, oil on canvas, signed lower right, 24 1/8 in. x 36 1/4 in., in a period giltwood frame.


$800/1200 924. Knute Heldner (Swedish/New Orleans, 18771952), “Bayou Cabin”, oil on canvas, signed lower left, 10 in. x 12 in., framed.



926. Colette Pope Heldner (American/New Orleans, 1902-1990), “Old Creole Patio, St. Peter St., French Quarter, Old New Orleans”, oil on canvas, signed lower left, signed and titled en verso, 24 in. x 30 in., framed.



W 925. Will Ousley (American/Louisiana, 1866-1953), “Barnes Creek”,

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

1936, oil on canvas, signed lower center, titled, dated and inscribed en verso, 23 in. x 14 1/2 in., framed. $500/750


W denotes the lot is illustrated at




928. An American Renaissance Highly Carved Oak Dining Suite, c. 1880, comprising a sideboard, server, extension dining table with four leaves, 2 armchairs and 6 side chairs; the sideboard with cornucopia crest centered by a female bust, trophée carved backboard, shell carved drawers, three game, fruit and nut carved cupboard doors, pendant fruit stiles, gadrooned block base, bun feet; conforming chairs with lappet stiles, molded seat rails, lappet carved square legs ending in paw feet, H stretchers; table with molded top, acanthus carved support connected to arched paw feet; the server with two drawers over shelves, sideboard height 75 in., width 70 1/2 in., depth 26 in.; table height 29 1/2 in., length 71 in., width 49 in. $8000/12000



929. An American Rococo Carved Mahogany Center Table, mid-19th c., serpentine white marble top, conforming floral carved skirt, shaped support, C scrolled foliate-carved legs, casters, height 30 in., width 39 in., depth 28 1/2 in. $1200/1800

930. A William IV Carved Mahogany Wardrobe, mid-19th c., foliate crest, cove-molded cornice, cross-banded doors flanking center section with shaped foliate crest above two short over four graduated drawers, molded base, disc feet, height 83 1/8 in., width 89 5/8 in., depth 24 in. $2500/3500

931. A Louis XVI Carved Pine Buffet à Deux Corps, late 18th c., arched volute cornice above a paneled frieze centered by a roundel, scrolled and paneled grillework doors, the lower case with paneled doors, shaped skirt, cabriole legs ending in scrolled toes, height 92 1/2 in., width 54 1/2 in., depth 20 1/2 in. $2000/3000 932. A Good French Provincial Carved Walnut Sécrétaire, early 19th c., in two parts, arched cornice above glazed doors enclosing shelves, slantfront base, fitted desk interior, shaped apron, cabriole legs, height 94 in., width 39 1/2 in., depth 28 in.



$2000/3000 933. A Good Napoleon III Ebonized and Boullework Center Table, mid-19th c., serpentine top centered by a chariot race cartouche, gilt bronze mounts, fitted frieze drawer, cabriole legs, height 30 in., width 48 in., depth 28 1/2 in.



$1500/2500 934. An Italian Carved Mahogany Lady’s Desk, 19th c., top drawer fitted with writing surface over kneehole configuration of drawers flanked by ebonized and gilt bronze-mounted columns, restrained cabriole legs, height 31 in., width 27 1/8 in., depth 21 in. $1000/1500 935. Friedrich Ernst Morgenstern (German, 1853-1919), “Ship in Harbor”, oil on canvas, signed lower left, 11 1/4 in. x 16 3/4 in., framed. $700/1000

935 W denotes the lot is illustrated at






938. Edward Algeron Stuart Douglas (England, 18501920), “Following The Hounds”, oil on canvas, signed lower left, 18 in. x 24 1/4 in., in a carved giltwood frame. $2000/3000

939. A Chinese Export Famille Rose Porcelain Punch Bowl, 19th c., U-form body raised on a tall foot ring, decorated to the exterior with two large cartouches of figures in a garden setting, flanked by smaller landscape and bird-onbranch shaped panels, the interior well with a floral spray, the mouth banded in pendant fleursde-lis, height 5 1/4 in., diameter 13 1/8 in. $500/750 W 940. A Dresden Porcelain Gilt and

Polychrome-Decorated Vase, early 20th c., ovoid form, five portrait busts of women in 18th c. costume, on an opalescent sea green ground, marked, height 7 7/8 in. 941

936. Geoffrey Jenkinson (English/ New Mexico, 1925-2006), “Summer Sunshine on Taos Pueblo”, wash and watercolor on paper, signed and dated lower right, titled en verso of paper, sight 11 1/2 in. x 17 3/4 in., matted and framed. $800/1200


937. James Edwin Meadows (English, 1828-1888), “Sailboat in Stormy Seas Off a Rocky Coast”, 1847[9], oil on canvas, signed and dated lower right, 12 1/4 in. x 16 in., in an antique cove-molded giltwood frame. $1200/1800


941. A Pair of Copeland Gilt and Polychromed Porcelain Fruit Coolers, 19th c., the lid with strawberry finial, intertwined handles and frieze modeled in the form of strawberry vines and fruit, overall hand-painted foliate decoration, height 10 1/4 in., width 11 in., depth 8 3/4 in. $1500/2500

942. A Meissen Porcelain Polychrome and Gilt Figural Group, probably early 20thc., base with underglaze blue crossed swords mark, incised no. 5 and stamped 86, allegorical of Painting, the three cherubs modeled crowded around an easel, on a beribboned oak leaf base, height 7 3/8 in., width 7 in., depth 4 3/4 in. $2000/3000 Provenance: Purchased in England c. 1945. 943. A Set of Four Chinese Polychrome Enameled ‘Eighteen Luohan’ Porcelain Plaques, Qianlong marks but 20th c., each rectangular panel painted with a landscape scene set with multiple Luohans amid trees, rocks and grasses, sight 11 1/2 in., width 8 5/8 in., framed, overall 19 1/2 in. x 14 1/2 in.


$1000/1500 Provenance: Purchased in New York City c. 1985. 944. A Chinese Turquoise Green Glazed Ceremonial Wine Pot, probably Ming Dynasty (1368-1644) or earlier, heavily potted globular body with a grooved arc handle raised on a splayed foot, with applied scrollwork decoration and an emerald green glaze, height 6 1/2 in. Note: Lacking spout.


943 (2 of 4)

$300/500 Provenance: Acquired in China 1960s by members of the U.S. State Department; thence to current owner, c. 1989. 945. A Continental Onyx and Gilt Bronze-Mounted and Ebonized Coffer, the hinged cover with rocaille mounts and surmounted by a sphinx, beribboned floral mounts on canted corners, gilt bronze paw feet, height 15 in., width 15 1/2 in., depth 12 in. $800/1200


946. An Antique Russian Enameled Cigar Case, unmarked, lozenge and foliate decoration in turquoise, cobalt, purple, spring green and white enamel, 4 1/2 in. x 2 7/8 in.


$1000/1500 W denotes the lot is illustrated at


951. A SemiAntique Kirman Silk Rug, green and cream ground, central floral medallion, allover stylized floral design, vine border, 10 ft. 3 in. x 7 ft. 6 in. $1000/1500 W 952. A

Mashad Carpet, signed, crimson ground, central floral medallion, small foliate écoinçons, geometric floral border, 9 ft. 10 in. x 6 ft. 6 in. 947


947. A Pair of Antique Carved and Polychromed Wood Blackamoor Pedestals, 19th c., the opposed figures on a rocaille base, on paw feet, height 35 1/4 in., diameter 13 in.


W 949. A Monumental Royal Bonn

Porcelain Vase, c. 1900, fully marked, cream ground, paint decoration, with raised gilt highlights, height 31 1/4 in., diameter 7 in.





$2000/3000 948. A Monumental Royal Bonn Porcelain Vase, c. 1900, fully marked, claret ground, painted foliate decoration, gilt highlights, with dolphin-form handles, on scroll feet, height 17 in., diameter 10 in.



950. A Kirman Rug, rose, cream and pale blue ground, central medallion, allover floral design, floral vine border, 11 ft. 9 in. x 8 ft. $2000/3000

953. A Persian Qashqai Carpet, crimson and navy ground, central geometric medallion, triangular écoinçons with central geometric motif, vine border, 9 ft. 6 in. x 6 ft. $2000/3000


959 W 954. An

Antique Oriental Rug, navy and crimson ground, overall stylized floral motif, floral vine border, 9 ft. X 6 ft. $700/1000 W 955. An

Oushak Center Hall Runner, cream ground, 14 ft. 5 in. x 6 ft. 6 in. $1000/2000 956. An Antique Gilt Bronze Sixteen-Light 957 Billiard Chandelier, late 19th c., elaborate scrolling frame, joined; with fluted urn-form standards, acanthine and rosette mounts, height 28 in., width 50 in., depth 23 in. $4000/6000 957. A Pair of Neo-Classical Bronze Urns, each with reeded body and frieze of classical figures, urn height 17 3/4 in., now mounted as a lamp.


959. A Georgian Carved Mahogany Chest of Drawers, late 18th c., writing slide to one side, four graduated drawers, shaped bracket feet, height 33 3/4 in., width 25 in., depth 21 in. $1000/1500

$2000/3000 W 958. A Venetian Etched Glass Mirror, octagonal segmented surround with

trailed decoration and rosette mounts, etched floral motif, spiral rod mounts, height 43 3/4 in., width 31 1/4 in. $600/900

960. A Georgian Carved Mahogany Armchair, 18th c., serpentine acanthus carved crest, pierced ribbon-carved vasiform splat, arms with scrolled supports, Marlborough legs connected by an “H” stretcher, block feet, height 37 1/2 in. Note: Repaired at arms, arms probably of later date. $400/600

W denotes the lot is illustrated at


962. A Georgian Caraved Mahogany Gentleman’s Chest, 18th c., molded top above four drawers, bracket feet, height 27 in., width 27 in., depth 17 in. $700/900



963. A George III Mahogany Library Armchair, rectangular back and seat, shaped arms, molded square legs with box stretcher, of generous proportions, height 37 in. $500/750 964. A George III Inlaid Mahogany Demilune Games Table, c. 1800, foldover top, the frieze with oval inlays, on square tapered legs, height 29 in., width 36 in., depth 18 in. $400/600



961. A George II Inlaid Figured Walnut Dressing Table, mid-18th c., banded segmented top over a long drawer and two short drawers, shaped apron, cabriole legs ending in drake feet, banded checkerboard inlay throughout, height 29 in., width 33 in., depth 18 1/2 in. $800/1200 964


965. An Antique George III-Style Carved Mahogany Bookcase, swan’s neck pediment, pair of glazed doors enclosing three shelves; cupboard base on shaped bracket feet, height 100 in., width 48 in., depth 19 in. $2500/3500

966. A Georgian Walnut Tilt-Top Tea Table, 18th c., top above a turned tapered stem, arched legs, pad feet, height 27 in., width 32 in., depth 32 in. $1000/1500 967. A Continental Kingwood Parquetry and Inlaid Encoignure, early 19th c., top with chamfered corners, frieze drawer, doors below, tapered feet, height 33 1/2 in., width 30 in., depth 17 1/2 in. $800/1200 966



968. A George III Inlaid Mahogany Beau Brummel, late 18th/early 19th c., hinged lid, fitted interior with adjustable dressing mirror, drawers fitted with washbowl and bidet, square tapered legs with ferrules and casters, height 35 in., width 24 in., depth 23 1/2 in.

970. A Louis XVI Crème Peinte Bergère, 18th c., molded crest rail and stiles, arms terminating in scrolls, rounded seat rail, fluted and paneled blocks above stop fluted tapered legs.




969. A Continental Carved Mahogany and Satinwood Inlaid Pier Table, 19th c., blocked frieze, lyreform supports, shaped plinth, rounded feet; the top with rectangular stepped panel, upper section missing, height 32 1/2 in., width 45 in., depth 22 1/2 in. $1200/1800 970 W denotes the lot is illustrated at


W 974. French

School, 19th c., “Coup de Grâce”, oil on tin, unsigned, inscribed “H332” en verso of tin, 5 in. x 6 1/2 in., in a later frame. $300/500 W 975. Spanish


School, late 19th/early 20th c., “Church Tower”, watercolor on paper, signed “Gino-” lower right, 3 1/2 in. x 5 3/4 in., matted and framed.


$150/250 976. A George III Carved Mahogany Chest of Drawers, late 18th/early 19th c., two drawers over three graduated drawers, shaped apron, “French” feet, height 42 in., width 37 1/2 in., depth 20 in. $800/1200



972. An Italian Neoclassical Parquetry Desk, tambour top, fall-front opening to fitted interior, kneehole configuration of drawers, tapered square legs, height 40 2/3 in., width 48 5/16 in., depth 25 in.



Provenance: Estate of Julia Badger, Grand Rivers, KY.

early 20th c., “An Orientalist Scene”, charcoal on paper, unsigned, 15 1/2 in. x 20 1/2 in., matted and framed. $300/500


W 973. French School,

971. A Louis XVI Crème Peinte Bergère, 18th c., oval floral carved and molded back, scrolled padded arms, molded uprights, floral carved seat rail, rosette headed stop fluted tapered legs.


978. An Associated Pair of William IV Mahogany Bedsteps, each with inset tooled leather hinged treads, one with pull-out drawer, turned feet, height 24 in., width 19 in., depth 28 in.



977. A George III Carved Oak Slant-Front Desk, c. 1800, fall-front opening to a fitted interior, four graduated drawers, bracket feet.

W 979. A Regency Carved

Mahogany Invalid’s Table, c. 1820, rectangular top with slanting reading stand, adjustable ring-turned support, shaped base on ball feet, casters, height 31 1/2 in., width 37 in., depth 18 1/2 in. $700/900 Provenance: Estate of Julia Badger, Grand Rivers, KY. W 980. An English Leather Shot

Bucket, c. 1900, canvas-lined interior, swing handle, decorated with coat of arms, height 16 in., diameter 8 in. $100/150

986 991

W 981. A Pair of Antique

English Mahogany Knife Boxes, late 19th c., the Chippendale taste, serpentine fronts, fitted interiors, height 14 5/8 in., width 8 7/8 in., depth 10 1/2 in.

987. An Antique English Silverplate Soup Tureen, Thomas Bradbury & Sons, Sheffield, 1892-1916, classical two-handled navette form on a pedestal base, part fluted sides and cover with urn finial, height 8 5/8 in., width 14 3/4 in., depth 7 3/4 in.



W 982. A William IV Rosewood

Sarcophagus-Form Tea Caddy, c. 1840, fitted interior with two lidded compartments and associated glass mixing bowl, ring handles, bun feet, height 7 in., width 13 1/2 in., depth 7 1/2 in.

W 988. A Pair of George III Sterling

Silver Master Salts, Chas. Chesterman, London, 1787-89, each with gadrooned rim, pierced surround, cobalt glass liner, total weight 2 troy ozs.




W 983. A Continental .800

W 989. An English Sterling

Silver Tête-à-Tête Teapot, c. 1860, Germany, height 4 1/2 in., width 7 in., weight 14.5 troy ozs.

Silver Mustard Pot, W. Hutton & Sons, Ltd., London, 1898-99, hinged lid, reticulated surround, bun feet, cobalt glass liner; together with an English sterling silver mustard spoon, 1885-86, and dessert spoon, 180910.

$300/500 W 984. Two Old Sheffield


Plate Warming Stands, one two-handled rectangular dish having a reeded border, cast shell-and-scroll handles, and raised on wooden bun feet; the other a two-handled circular dish on ball supports, rectangular height 13 1/4 in., circular height 13 3/8 in.

990. A Fine English Stumpwork Embroidery, of “Abraham and the Three Angels”, late 17th c., a variety of stitches in silk, wool, chenille, and metal, with embellishments of fabric, spangles, and glass, sight 19 in. x 21 1/4 in., attractively matted and framed.


$400/600 W 985. A Set of Twelve Adams-

Style Silverplate Service Plates, by Reed & Barton, pierced borders with garland wreath and basket of flower swag borders, fully marked on reverse, diameter 11 1/4 in. $600/900

986. A Set of Four English Silverplate Candlesticks, Barker Ellis, Birmingham, each octagonal base with fluting and beaded borders, fluted stem and candlecup with removable bobêche, height 11 3/8 in. $400/600

$1000/1500 991. A Louis Philippe Bronze Two-Light Bouillotte Lamp, c. 1845, adjustable shade, the base cast with foliate decoration and grotesque masques, issuing candle supports, height 16 in., width 12 in., depth 4 3/4 in. $500/700

W denotes the lot is illustrated at


993. A French Gilt BronzeMounted Parquetry Secretaire, early 19th c., slant front opening to fitted interior, center panel flanked by two drawers over two long drawers, square tapered legs, brass caster cups, height 40 1/4 in., width 38 in., depth 19 in. 992



994. A Pair of Queen Anne Carved Walnut Side Chairs, early 18th c., shepherd’s crook crest rail, vasiform splat, shaped stiles, trapezoidal slip seat, cabriole legs, pad feet. $250/350 995. A Georgian Figured Mahogany Bowfront Chest, late 18th/ early 19th c., shaped top, two short over three graduated drawers, shaped base, “French” feet, height 40 1/2 in., width 34 1/2 in., depth 21 1/2 in.




992. A Louis XVI-Style Gilt Bronze-Mounted Side Table, inset Rosé de Brignoles marble top, each corner with masques on tapered legs, acanthine bronze hoof feet, height 22 in., width 27 1/2 in., depth 20 in. 995



996. A Georgian Mahogany Chest-on-Chest, late 18th c., molded cornice, three short over three graduated drawers, dressing slide and three graduated drawers, molded base, bracket feet, height 72 in., width 41 in., depth 23 in. $1500/2500




997. A Good George III Carved Mahogany Candlestand, 18th c., dished top, slender vasiform stem, lappet carved arched spider legs, pad feet, height 27 in., diameter 17 in. $500/750 998. A Georgian Walnut Stand, 18th c., ring-turned disc, spindled supports, two medial drawers, circular dished shelf, arched legs, pad feet, height 30 1/2 in., diameter 12 in.



1004 W 1001. A Regency Carved

W 999. A Queen Anne Carved Oak

Stool, 18th c., rectangular slip seat, molded frame, cabriole legs, pad feet, height 18 1/2 in., width 22 in., depth 16 1/2 in. $100/200 W 1000. A George III Carved Walnut

Side Chair, mid-18th c., rectangular back, trapezoidal seat, cabriole legs, scrolled toes. $250/350 Provenance: Henry Stern, New Orleans.

Mahogany Miniature Chest, early-to-mid 19th c., three dovetailed drawers, shaped apron, “French” feet, height 9 1/4 in., width 7 7/8 in., depth 4 7/8 in. $500/750 1002. A Georgian-Style Carved Mahogany Wing Chair, 20th c., arched back, outswept scrolled arms on cabriole legs ending in scrolled toes, height 46 in. $500/700

1003. A Georgian Carved Mahogany Card Table, 18th c., shaped foldover top opening to gaming surface fitted with chip pockets, apron fitted with a drawer, chamfered molded legs, height 28 3/4 in., width 33 3/4 in., depth 16 1/2 in. $600/900 1004. American School, 19th c., “Portrait of a Woman Holding a Rose”, oil on canvas, unsigned, inscribed en verso, 30 in. x 25 in., in a silver leaf frame. $800/1200

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1006. Samuel Colman (American, 1832-1920), “Just Before Sunset, a Sketch from Nature”, pastel on paper, signed and titled on original mat “Kennedy Galleries, New York, NY” label en verso, 4 in. x 10 1/4 in., matted and framed. 1005

$1000/1500 1007. Samuel Colman (American, 18321920), “Seascape”, pastel on paper, signed lower right, 4 in. x 6 1/2 in., matted and in a period frame. $700/1000 1008. Norton Bush (American/California, 1834-1894), “Tropical Lagoon, South America”, oil on canvas, signed faintly lower right, 16 1/8 in. x 26 1/4 in., in an ornate period gilt frame. $4000/6000 1006 W 1009. A Chinese Export Famille Rose

Porcelain Punch Bowl, 19th c., U-form body raised on a tall foot ring, vividly enameled to the exterior with two peacocks perched on a colorful tree with peony, chrysanthemum, prunus and marigold flowers, the interior well with a large floral spray, the rim banded with flowerhead cartouches on a gilt diapered iron red ground, height 5 7/8 in., diameter 13 3/8 in. $400/600 W 1010. Two Chinese Export Famille Rose


1005. Samuel Bell Waugh (American, 1814-1885), “Portrait of a Gentleman”, 1873, oil on canvas, signed and dated lower right, “Winner & Co. Artists’ Emporium and Fancy Store, Philadelphia” label on stretcher en verso, 27 in. x 22 in., fine period frame. $1000/1500


Porcelain Bowls, late 19th/early 20th c., each U-form body raised on a tall circular foot, one decorated to the exterior with a garden scene with rocks, lingzhi fungus, and colorful flower and fruit sprays, the interior with a central floral spray beneath a band of pendant fleurs-de-lis, base with “DM&P Manheim Antiques Corp./ 46 East 57th Street/New York City” label, height 4 7/8 in., diameter 11 1/4 in.; the other with flowers, grasses, and rocks to the exterior and a floral spray to the interior, height 3 3/4 in., diameter 9 1/4 in. $200/400

W 1011. A Pair of American

W 1017. An Irish Sterling Silver

Bronze and Cut Crystal Candlesticks, 19th c., with elaborate engine-turned decoration, height 6 3/4 in.

Sandwich or Asparagus Tongs, Dublin, 1825, maker TF untraced, plain bowed handle having broad grips, length 9 in., weight 4.15 troy ozs.


$250/350 1012. A Southern Federal Inlaid Walnut Cellarette on Stand, late 18th/early 19th c., the lift top with eagle inlaid cartouche, fitted interior, molded base, on later conforming stand, with square tapered legs connected by an “X” stretcher, height 36 in., width 19 in., depth 12 in.

W 1018. A Pair of George II

Crested Sterling Silver Spoons, mid-18th c., Hanoverian pattern, upturned rounded handles, deep rounded drops on elongated slightly tapered bowls, length 8 1/4 in., weight 4.50 troy ozs.



W 1013. A Pair of American or

W 1019. A Cased Pair of Mappin

English Brass Spring-Loaded Candlesticks, 19th c., with glass baluster-form storm shades with ruffled rims, round foot with floriform decoration, height 13 1/2 in.

& Webb Sterling Silver Serving Spoons, Birmingham, c. 1919, with “oyster shell” bowls and Royal Cypher finials, weight 3.15 troy ozs. $200/400

$200/400 W 1014. An Anglo-Indian Silver

Pitcher, unmarked, hand-wrought raised pyriform body on three cast claw and ball feet, allover repoussé scrolling foliage with flowers against a punchwork ground, the lower neck with chased stylized decoration of geometric bands, appliqué curved scroll handle, height 11 1/4 in., weight 32.95 troy ozs.


$300/500 W 1021. An Antique English

Silverplate Wine Bottle Holder, c. 1880; together with an Arts and Crafts hammered silverplate wine dispenser, c. 1920.



W 1015. An English Edwardian

Sterling Silver Tea Caddy, Chester, 1904, rubbed maker’s mark, lobed oval form with hinged gadrooned cover, ring handle and raised on four shell supports, height 4 in., width 4 1/4 in., depth 3 1/4 in., weight 6.55 troy ozs.

1020. An Old Sheffield Plate Cake Basket, c. 1830, oblong, with swing handle, shell and scroll rim, molded foot, height 10 1/2 in., length 13 5/8 in.

W 1022. A Pair of Decorative



Silverplate Wine Coasters, each having floral and acanthus rim, baluster body, hardwood turned bottom with central silver button, height 5 1/2 in., diameter 8 3/4 in. $300/500

W 1016. A Pair of Georgian

Sterling Silver Serving Forks, one London, 1804, probably Peter, Ann and William Bateman, mark entered 1800, upper part of mark rubbed, the other London, 1815, unidentified maker, each with downturned Old English pattern handle, rounded terminal and no drop on bowl; engraved script monograms on upper face, length 12 in. and 10 3/4 in. respectively, combined weight 7.45 troy ozs. $250/350

1023. A Pair of American Gilt Lacquered Bronze and Crystal Five-Light Girandoles, c. 1840, possibly Hooper & Co., Boston, foliate candlearms above faceted crystal stem with prism-hung lobed collar, floriform base, height 23 in., width 15 in., depth 8 in. $800/1200 Note: The foliate arms are characteristic of many examples depicted in the 1850 Hooper catalogue. 1023

W denotes the lot is illustrated at


1026 1028


1026. Harry Jackson (American, b. 1924), “Trail Boss”, after 1958, bronze, initialed, dated, and with copyright mark on self-base, numbered “25” at edge of base, on a rectangular plinth, height 25 in.

W 1024. A Pair of American

Patinated Bronze Single-Arm Argand Lamps, early 19th c., labeled “John B. Jones, Boston”, urnform reservoir, later etched shades, the arms now fitted for electricity, in “estate” condition, height 19 in., width 11 in., depth 7 in.

$800/1200 1027. Clemente Spampinato (American, 1912-1993), “The Bronco Buster”, bronze, cast signature and foundry mark at edge of self-base, on a rectangular cream-veined black marble base, height 23 1/4 in., width 24 in.



1025. An American Gilt Pressed Brass and Blown Cut and Etched Glass Lantern, c. 1850, the metal bands foliate-decorated, with clear glass smoke bell, main portion height 9 in., diameter 10 in.

1028. An American Bronze Bust of “George Washington”, late 19th c., on a verde antico marble plinth, height 11 in. $800/1200

$400/600 1027

1029. An English Brass Barrel Flintlock Blunderbuss, c. 1810, marked with a crown over “V” and “D” over “W.S.”, walnut stock, scrolled trigger, decorative hardware, octagonal barrel terminal, steel ramrod with copper end, barrel length 14 3/4 in., total length 31 in. $1200/1800



W 1030. An American Military

Academy Cadet Sword, c. 1900, etched on blade “William C. Rowland” and “MA”, with original scabbard, blade length 31 1/2 in. $200/400 1031. A Chitimacha Double Weave Carba, red, black and natural cane, body with “Alligator Entrails” pattern, lid with “worm tracks”, height 5 1/2 in., width 5 1/2 in., depth 5 1/4 in. $1000/1500 Note: In 1899, Clara Darden, realizing that Chitimacha Basketry was quickly becoming a lost art, decided to re-introduce the practice into everyday life on the Reservation. She, along with her niece, Delphine Stouff, Delphine’s nieces, Lydia and Ernestine Darden, and Ada Vilcan Thomas, preserved the techniques for the younger generations. These techniques include the cutting, splitting, and dying of cane, and the historical patterns such as “worm track,” “alligator entrails,” “cow eye,” and “mouse track.” Today, only a handful of relatives of these women practice Chitimacha Basketry, with very little variation on the original methods and materials used.

1032 1031


Provenance: Descended in the family of Louisiana Governor Murphy James Foster (1849-1921). 1032. A Chitimacha Double Weave Trinket Basket, late 19th/early 20th c., red, black and natural cane, “X” banding design, height 3 1/4 in., width 2 1/4 in., depth 2 1/4 in.


$600/800 W 1033. A Chitimacha Single Weave

Bowl-Shaped Basket, early 20th c., red, black and natural cane, diagonal design, height 4 1/2 in., width 9 3/4 in., depth 10 in.


$500/750 1034. A Pomo Twined Bowl-Shaped Basket, brown and natural, banded geometric design, height 5 in., diameter 16 in.

1036. A Vintage Choctaw Lidded Storage Basket, mid-20th c., red, green, light blue, blue and natural cane, lid with spiral design, body with diamond pattern, height 27 1/2 in. $1000/1500

$800/1200 1035. An Aleutian Twined Lidded Basket, with red, olive and light purple embroidered geometric design on natural ground, height 8 1/4 in. $700/1000

1037. A Chitimacha Double Weave Carba, early 20th c., red, black and natural cane, in the “Teche” pattern with worm tracks on the lid, height 5 3/4 in., width 6 in., depth 6 in.


$1000/1500 Provenance: Descended in the family of Louisiana Governor Murphy James Foster (1849-1921). W denotes the lot is illustrated at


W 1045. A Pair of Plateau Beaded

Hide Gauntlets, polychrome beads in a floral design, length 16 in. $400/600 W 1046. A Hopi Cotton Koyemsi

(Mudhead) Mask, cotton with trace pigment, height 12 1/4 in., width 10 5/8 in., loose mounted on a display stand. $300/500 Note: Compare a similar cloth Kachina Mudhead mask at Ethnologisches Museum, Berlin, Inv. IV B 12877.


W 1047. A Northern Plains Beaded


Hide Pouch, c. 1880, polychrome geometric design, height 1 1/4 in., width 4 in. $200/400 W 1048. Two

Chitimacha Single Weave Baskets, attributed to the Darden Family, each with red, yellow, black and natural cane, height 1 7/8 in. and 1 3/4 in. $200/300 Provenance: Descended in the family of Louisiana Governor Murphy James Foster (1849-1921). 1050

1051 W 1049. A Chitimacha

W 1038. A Chitimacha Double

W 1041. A Pima Coiled Figural

Weave Basket, red, black and natural cane, in the dots pattern, height 3 3/4 in., width 3 in., depth 3 in.

Basket, brown and natural (probably devil claw and yucca respectively), height 5 in.

$700/1000 Note: Descended in the family of Louisiana Governor Murphy James Foster (1849-1921). 1039. A Chitimacha Double Weave Trinket Basket, early 20th c., red, black and natural cane, natural “X” banding design, height 4 1/2 in., width 3 1/2 in., depth 3 in. $1000/1500 1040. A Chitimacha Double Weave Carba, red, black and natural cane, body with “Alligator Entrails” pattern, lid with “worm track”, height 6 in., length 7 in., width 5 in. $1000/1500 Provenance: Descended in the family of Louisiana Governor Murphy James Foster (1849-1921).



Single Weave Basket, attributed to the Darden Family, red, yellow, black and natural cane, broken “cos” design between black chain-link bands, height 3 3/4 in., width 5 1/4 in., depth 5 1/4 in. $200/400

W 1042. Two Choctaw Baskets mid-

20th c., one purple, black and natural cane, chevron and diamond design; one red, purple, yellow, black and natural cane, diagonal design; each of a waisted form, height 15 1/2 in. and 17 in., respectively. $600/900 W 1043. A Vintage Choctaw Market

Basket, mid-20th c., blue, purple and natural, banded chevron design, two handles bound together, height 18 3/4 in., length 25 1/2 in., width 16 in. $300/500

Note: The well-known weavers of the Darden family can be identified by a signature weave of yellow and black cane woven under the rim along the upper section of the basket wall. 1050. A Southwest Polychrome Pottery Jar, possibly by Martina and Florentine Montoya, red ground with black and white glaze, height 6 1/2 in., diameter 8 3/4 in. $1000/1500 1051. A Southwest San Ildefonso Pottery Jar, 1890, red ground with black glaze, height 9 1/4 in., diameter 11 1/2 in. $800/1200

W 1044. An Antique Choctaw

Handled Market Basket, probably Louisiana, red, green, and natural cane, height 13 in., diameter 10 in.

W 1052. A Southwest Pottery Bowl, interior



with black stylized birds and geometric pattern on cream ground, height 3 1/4 in., diameter 8 1/2 in.

1053. Theodore “Fonville” Winans (American/ Louisiana, 1911-1992), “Woodworker”, 1939, vintage silver gelatin print, signed and dated lower right in white ink, pencil titled, dated, and estate numbered “373 F” en verso, 13 7/8 in. x 11 in., unframed. $700/900 1054. Two Rare New Orleans Portraits of Babies with their Nanny, one an albumen print depicting Mary Mallard Seago and Aunt Annie Evans, by C. Bennette Moore, 1898; the other a cabinet card depicting Dorothy Wilson Seago and Aunt Annie Evans, 1899, by W.W. Washburn, 625 Canal Street, wc. 1849-1903; in matching sterling silver and bronze frames by Heintz Art Metal Shop, wc. 1902-1930, patent date en verso,; each 10 3/8 in. x 6 3/8 in.; together with a silver gelatin print depicting Aunt Annie Evans and two Seago children, c. 1905, unframed. $800/1200 Provenance: Sold for the Benefit of Christ Church Cathedral, New Orleans. W 1054A. A Group of Vintage

Photographs of AfricanAmericans, late 19th/early 20th c., “Portraits of Men, Women and Children in studio settings and out of doors”, including cabinet cards by Monroe, Louisiana photographers, photographs on postcards, tintypes, negatives, silver gelatin and albumen prints, some with inscriptions and dates en verso, ranging from 2 1/2 in. x 1 3/4 in. to 5 in. x 7 in. (over 55 images). $400/600 W 1055. A Fine Collection of

Cased Photographic Images, “Portraits of Men, Women and Children”, c. 1839-1880s, including daguerreotypes, ambrotypes, tintypes and on ceramic, sixteenth plates, ninth plates and sixth plates, all in original cases with covers, hinges and locks intact (25 pcs.) $500/700

1053 1054 (1 of 2) W 1056. A Carte de Visite of “Old

Charity” Hospital, New Orleans, LA, Olwell and Gum, Mobile, AL, c. 1860-1890, albumen silver print on paper, 2 1/2 in. x 3 3/4 in. $500/700 1057. Theodore Fonville Winans (American/Louisiana, 1911-1992), “Shrimp Man (Smoking a Cigarette)”, silver gelatin photograph, signed lower left, sight 19 1/2 in. x 15 1/2 in., matted and framed. $2000/3000 Provenance: Acquired from A Gallery for Fine Photography, Royal Street, New Orleans. W 1058. Group of Eight Vintage

Albumen Stereograph Photographs of New Orleans, late 19th/early 20th c., including George Francois Mugnier (Swiss/New Orleans, 1855-1936), “Carnival Season, Canal Street”, “Margaret Monument”, and “Hotel, West-End”; Samuel T. Blessing (American/New Orleans, 1830-1897), “Cotton Exchange”, “Camp St., north from Canal St.” and “Bird’s Eye View of West End”; Theodore Lilienthal (Prussian/New Orleans, 1829-1894), “Street View, Camp Street”; and Henry Mancel (French/New Orleans, late 19th century), “Canal Street”, ranging in size from 4 1/2 in. x 7 in. to 3 1/2 in. to 7 in., all unframed. $500/700


W 1059. Theodore “Fonville” Winans

(American/Louisiana, 1911-1992), “Jig Dancers”, silver gelatin photograph, signed and dated “Fonville, 1938” lower right, labeled en verso with title, date, “File No. 041A” and “Print No: 10”, 16 in. x 20 in., unframed. $500/750 W 1060. A Zebra Skin Rug, 86 in. x 72 1/2 in.


W denotes the lot is illustrated at


1061. Percy Sanburn (American/Maine, 1849-1929), “Green-Eyed Cat”, 1887, oil on board, signed and dated lower right, 10 in. x 7 3/4 in., in a period gilt and faux tortoiseshell frame. $1000/1500 1062. Charlotte Buell Coman (American/New York, 1833-1924), “A Lake Cottage, Picardy”, oil on canvas, signed lower left, 14 1/4 in. x 23 1/4 in., ornate period gilt and gesso frame. $1000/1500 Provenance: Christie’s, New York, Nov. 29, 2005, lot 682. 1063. George Rodrigue (American/Louisiana, b. 1944), “I Thought I Knew Where My Life Was Going”, 1992, oil on canvas, signed lower left, titled and inscribed en verso, 24 in. x 20 in., attractively framed. $18000/25000 Provenance: Purchase from the artist, 1992. Illustrated in The Art of George Rodrigue, p. 126, and an exhibition catalogue.




1064. James Michalopoulos (American/New Orleans, b. 1950), “New Orleans Screen Door and Window”, oil on canvas, signed “Mitchell” lower left, 11 in. x 14 in., in original frame. $2000/3000





1065. Simon Gunning (Australian/ New Orleans, b. 1956), “Upfront Still Life with Goldfish Outback”, 1983, oil on canvas, signed and dated lower right, 36 in x 48 in., framed. $2000/3000 Provenance: Gift of the Artist, New Orleans, mid 1980s. Note: Simon Gunning moved to New Orleans in 1978, as a young artist and recent graduate of the Victorian College of Art in his native Australia. Settling into the Faubourg Marigny, he become well known for paintings of urban street scenes of his historic neighborhood, vibrant still-lifes, modern industrial vistas of the Mississippi River and bayous of southern Louisiana. By the early 1980s, Gunning exhibited with Bienville Gallery and soon earned acclaim for his work. This idiosyncratic still life depicts a tabletop filled with personal items including a pair of glasses, a jar of flowers from the garden, seashells, and a book of matches. Easily identifiable autobiographical elements of the pen and jar of ink, which allude to his emerging artistic career, a goldfish bowl reflecting the windows of his studio, and to the right a view of his neighborhood.


W 1066. Anna Mary Richards

Brewster (American, 1870-1952), “San Giorgio, Venezia”, oil on canvas, unsigned, “Kennedy Galleries, New York, NY” label en verso, sight 6 5/8 in. x 8 in., in an attractive gilt frame. $300/500 1067. Jane Peterson (American, 18761965), “At the Breakers, Palm Beach”, c. 1925, gouache on paper, signed lower left, “D. Wigmore Fine Art, Inc., New York, NY” label en verso, 5 1/2 in. x 7 3/4 in., matted with Arts and Crafts-style frame. $1500/2500


1068. Nino de Fiesole (Italian, late 19th/ early 20th c.), “Guardians”, an opposing pair of bronze lions, inscribed “de Fiesole” at base, on naturalistic white stone bases, height 13 1/2 in. and 15 in.


1069. Arthur Silverman (American/New Orleans, b. 1923), “Abstract Sculpture”, 1991, signed and dated, height 20 in., on a wood plinth. $1000/1500 1070. Arthur Silverman (American/New Orleans, b. 1923), “Abstract Sculpture”, 1991, signed and dated, height 10 1/2 in., width 17 3/4 in., depth 12 1/4 in. $800/1200

$1200/1800 W denotes the lot is illustrated at


1072. Geneva Mercer (American, 18891984), “The Swing”, 1916, bronze, cast signature and date on self-base, height 16 in. $800/1200 1073. Emerson Bell (American/Louisiana, 1932-2006), “Female Figure, Draped”, patinated bronze, initialed at lower back, on a square wooden base, height 12 in. 1074

$1200/1800 1074. Allen Tucker (American, 1866-1939), “Storm Cloud and Rainbow, New Mexico”, 1924, watercolor on paper, signed lower center, 14 1/2 in. x 20 in., in an Arts and Craftsstyle frame.


$1200/1800 1075. Allen Tucker (American, 18661939), “The Spring Sea”, watercolor, pencil-signed lower right, “D. Wigmore Fine Art, Inc., New York, NY” label en verso, 20 in. x 14 in., attractively frame. $1000/1500 1076. Whitney Hubbard (American, 1875-1965), “Greenport Shore”, c. 1925, gouache on paper, pencil-signed lower right, “D. Wigmore Fine Art, Inc., New York, NY” label en verso, sight 15 1/2 in. x 19 1/2 in., Arts and Crafts-style frame. $1000/1500


W 1077. Thomas

Paquette (American, b. 1958), “Overlooking Blue Mountain Lake” and “Across Tupper Lake”, 2008, both gouache on paper, signed, “D. Wigmore Fine Art, New York, NY” labels en verso, 2 in. x 3 1/4 in. and 2 1/2 in. x 3 5/8 in. respectively, both framed.


W 1071. Arthur Silverman


(American/New Orleans, b. 1923), “Abstract Sculpture”, 1992, on a wood plinth, height 7 1/8 in., width 5 in., depth 4 in. $300/500



W 1078. Elisha Kent

Kane Wetherill (American, 18741929), “The Shop Front, Paris”, 1900, oil on panel, signed and dated en verso, “Kennedy Galleries, New York, NY” label en verso, 5 in. x 7 1/2 in., attractive gilt frame. $800/1200 1079. Leon A. Makielski (American, 1885-1974), “The Pond, Michigan”, 1920, oil on panel, signed lower right “D. Wigmore Fine Art, Inc., New York, NY” label en verso, 8 3/8 in. x 10 1/2 in., in a gilt Arts and Craftsstyle frame.



1082. Charles Paul Gruppe (American/New York, 1860-1940), “Old Jan Van Dyke, The Hague”, oil on canvas, signed lower right, titled on artist label en verso, inscribed “Old Jan Van Dyck” on stretcher, 20 in. x 16 in., in a gilt frame.

$600/900 W 1080. Leon A.

Makielski (American, 1885-1974), “Cloudy Day, Giverny”, c. 1910, oil on board, signed lower right, titled en verso, “D. Wigmore Fine Art, Inc., New York, NY” label en verso, 10 in. x 13 5/8 in., in a gilt Arts and Crafts-style frame.

$400/600 W 1083. A British Arts and Crafts

Tray Top Serving Table, late 19th c., related to the designs of Christopher Dresser and John Moyr Smith, molded top incised with Celtic and Anglo-Saxon motifs, turned X-form supports, medial shelf, trestle feet, pegged stretchers, height 32 1/2 in., width 36 in., depth 26 in.


$500/750 Note: The Celtic knotwork along the tray border as well as the zigzag carving on the medial shelf are motifs included in Dresser’s repertoire. Smith, a student of Dresser, would have worked with similar motifs.

$600/900 1081. George Overbury “Pop” Hart (American, 1868-1933), “Boardwalk, Atlantic City”, 1916, watercolor and gouache on paper, signed lower right, “Zabriskie Gallery, New York, NY “ “Margaret and Raymond Horowitz Collection” and “D. Wigmore Fine Art, Inc., New York, NY” labels en verso, 8 in. x 12 1/2 in., framed.

W 1084. An Antique Gilt Metal

Mounted Presentation Case, rectangular top with glazed panels, molded base, height 21 3/4 in., width 23 1/4 in., depth 19 in. $200/400


1085. An Orkney Islands Child’s Chair, 19th c., woven straw barrel back, the uprights connected to scrolled arms, plank seat, molded tapered square legs, stretchers. $200/400 1082

W denotes the lot is illustrated at


W 1090. An Arts and Craft

Brass Doorbell, early 20th c., arched tapered form with geometric motifs. $200/300 Provenance: Estate of Newcomb Craftsman Rosalie Roos Weiner, Trianon Place, New Orleans.


1091. A Group of Arts and Crafts Objects, early 20th c., attributed to Newcomb College, including a punched brass jewelry box, inkwell, and white brass lampshade, box height 3 1/8 in., width 7 in., depth 7 in.; inkwell height 1 1/2 in., width 4 1/2 in., depth 4 3/4 in.; lampshade height 2 1/2 in., width 5 1/2 in. $500/700 Provenance: Estate of Newcomb Craftsman Rosalie Roos Weiner, Trianon Place, New Orleans. W 1092. Two Antique

1087 (2 of a collection) 1091 (1 of 3) W 1086. Caroline Wogan Durieux

(American/New Orleans, 1896-1989), “Stellar Explosion”, cliché verre on paper, pencilsigned and titled, sheet 19 1/2 in. x 15 7/8 in., matted.

American Gilt Bronze and Brass Reliquaries, one brass, containing a silver cross, marked “Associated Metal Crafts Co., Phila”, the other of architectonic form, with lobed base, with paw feet, height 12 in. and 18 in. respectively. $600/900

$400/600 W 1093. An Inuit Wood,

Leather and Bone Figure in a Kayak, with implements, detailed rendition, height 3 1/2 in., length 18 in., width 2 in.

1087. After Alice Ravenel Huger Smith (American/South Carolina, 1876-1958), “The Pringle House on King Street, Charleston, South Carolina”, 1914, cover sheet, three pages of text and a collection of 20 lithographs in original portfolio case, sheet size 18 in. x 15 1/2 in.


$1000/1500 Provenance: Succession of Harry T. Howard III.

W 1088. James Abbott McNeil Whistler

Note: Born to an established Charleston family, Alice Ravenel Huger Smith became not only one of the leading artists of the Charleston Renaissance, but also an author and an advocate in the preservation movement. In 1914 Smith and her father D.E. Huger Smith published The Pringle House on King Street, a portfolio of twenty drawings by Smith and text by her father. This led the way to their 1917 collaboration The Dwelling Houses of Charleston, the seminal volume in the study of the architecture of Charleston.

(American, 1834-1903), “Billingsgate”, 1859, etching, signed and dated in plate, Kennedy 47, VIII of 8, plate 6 in. x 8 7/8 in., attractively matted and framed.

Located at 27 King Street, the Pringle House is now named for its original owner Miles Brewton. Built in 1769, the house is today considered one of the finest examples of Georgian-Palladian architecture in the country.


$800/1200 1089. A Pair of American Aesthetic Brass Andirons, late 19th c., in a style designed by architect Frank Furness, with stylized foliate crest, the standard flanked by ribbed arches, over foliate reserve, arched and beaded legs, height 23 in., width 10 in., depth 22 1/2 in. $500/750

$400/600 1094. A Northwest Coast Carved Horn Spoon, handle in the form of a totem, length 12 1/2 in. $1000/1500 W 1095. Two Choctaw

Bentwood Stickball Kaboccas, 19th c., length 25 1/2 in. and 23 5/8 in. $500/750

1096. A Hopi Carved and Polychrome Kachina Doll, height 11 5/8 in. $1200/1800 1097. A Decorative Trophy Swordfish Rostrum, length 42 in. $500/750 Provenance: Succession of Harry T. Howard, III. 1097 1098. An Arts and Crafts Rosewood and Brass Inlaid Letter Stand, c. 1900, decorated on each side, suppressed ball feet, height 4 3/4 in., width 4 3/4 in., depth 3 in. $200/400 Provenance: Succession of Harry T. Howard III. W 1099. Two American Sterling


Silver Trumpet Vases, one an equestrian trophy won by Mrs. H.T. Howard, Jr. in 1929, height 16 in.; the other monogrammed “EH”, height 10 in., both with weighted bases.



$250/350 W 1100. A

Continental Silver Sherry Goblet, probably Russian or Eastern European, late 19th/early 20th c., cone shaped bowl on slender cylindrical stem with a circular foot, engine turned engraving with vacant scroll framed circular reserve, height 4 3/4 in., weight 2.10 troy ozs. $100/150 W 1101. A Good Group of Antique

and Vintage American Sterling Silver Gentlemen’s Accessories, including an embossed pocket flask, maker’s mark rubbed; an ashtray, J.E. Caldwell & Co., Philadelphia; 2 folding pocket knives, one by Wood & Hughes, the other Gorham; 3 matchbox covers, S. Kirk & Son; and a Zippo lighter, combined weight (weighable) 8.55 troy ozs. (8 pcs.) $300/500



1102. An American Coin Silver Soup Ladle, Wood & Hughes, New York, ret. A.J. & F.A. Leslie, Mobile, wc. 1856-1875, fiddle thread pattern, engraved “Lizzie Foster Jan 5th 1870”, length 12 1/4 in., weight 7.20 troy ozs. $400/600

1104. An American Coin Silver Serving Fork, Peter Krider, Philadelphia, wc. 1850-1860, bright cut decoration, length 9 in., weight 2.4 troy ozs.; together with an American cake knife, ret. Mermod Jaccard and Co., wc. 1845-1905, pat. Oct. 8, 78, likely silverplate, length 11 1/4 in. $200/300

1103. An American .950 Silver Fish Slice, Ball Black and Co., New York, wc. 1851-1876, “King’s” pattern, engraved “Fairchild”, length 12 in., weight 3.60 troy ozs. $200/300

W 1105. A Miscellaneous Group of

Antique and Vintage American Sterling Silver Spoons, various patterns and makers, including Dominick & Haff, Whiting, Shieff, Gorham and Alvin, teaspoons, soup spoons, bouillon spoons, egg spoons, and citrus spoons, combined weight 57.90 troy ozs. (66 pcs.) $1500/2500

W denotes the lot is illustrated at


1108. A Pair of Edwardian Carved Mahogany Washstands, each with galleried top above a paneled door, turned legs, height 31 1/2 in., width 17 in., depth 14 in. $500/750 W 1109. A



German Inlaid and Figured Walnut Cabinet-onChest, 18th c., double arched crest over a pair of doors opening to shelf interior and four drawers; serpentine case with three graduated drawers, snake feet, height 70 1/2 in., width 45 in., depth 24 in. $1000/2000


1110. An English Regency Carved Mahogany Bedstep, mid-19th c., two hinged steps, carpet treads, fitted with ironstone chamberpot, height 27 in., width 18 1/2 in., depth 27 in. $500/750

1107 1111. A William IV Rosewood Pedestal Desk, 19th c., the superstructure with fall front center, leather writing surface, compartments and shelves, two side doors enclosing satinwood drawers, the base with three drawers in each pedestal, blocked molding, height 58 1/2 in., width 54 in., depth 28 in.

1106. A Set of Four Sheffield Candlesticks, tapering cylindrical bodies with scroll and floral decoration on stepped circular bases, retain original bobêches, height 10 in. $600/900 1107. A William IV Mahogany and Marble Top Pedestal Cabinet, 19th c., stenciled “From H. LAWSON, Upholsterer & r. William Street WINDSOR”, inset marble, single door opening to shelf, plinth base, height 28 in., diameter 15 in.





1112. A William IV Carved Oak Library Table, c. 1840, molded top with inset gilt tooled leather writing surface, three frieze drawers and three faux drawers, turned tapered legs with melon feet, casters, Hobbs & Co., London locks, height 29 1/2 in., width 65 3/4 in., depth 45 3/4 in. $1500/2500 1113. A Continental Gilt Bronze-Mounted and Parquetry Commode, of bombé 1114 form, Brèche marble top, two short drawers over two long drawers, distinctive bronze busts paired at each stile, height 35 in., width 46 1/2 in., depth 18 1/2 in.


$1000/1500 1114. An Antique English Chinoiserie Decorated Sewing Table, 19th c., hinged top, turned trestle supports joined by stretchers, height 26 in., width 14 1/2 in., depth 10 1/2 in. Note: Missing work bag. $200/400




1115. A Louis XVI-Style Carved and Gilded Salon Table, white marble top on scrolled foliate pierced apron, rosette blocks, turned tapered legs joined by stretchers with urn and garland finial, height 31 in., width 47 in., depth 31 in.

1116. A Venetian Rococo-Style Paint-Decorated Bombé Commode, serpentine top above conforming case, on cabriole legs, height 34 1/2 in., width 49 in., depth 24 1/2 in.


$1000/1500 W denotes the lot is illustrated at





W 1118. A Paris Porcelain

Polychrome and Gilt Centerpiece, mid-19th c., finely painted floral reserves, applied floral and branchwork handles centered by foliate crests, height 10 1/4 in., width 18 1/2 in., depth 8 3/4 in. $300/500 1119. A Pair of Sèvres-Style Porcelain Urns, 19th c., marked “France” in rouge de fer, bearing gilt anchor mark, rose pompadour ground with avian reserves, on later quadripartite sphinx bases, height 14 3/4 in., diameter 8 in., height on bases 18 1/4 in.

W 1117. A Large German Porcelain Polychrome and

Gilt Figural Centerpiece, underglaze blue and impressed marks, scalloped and reticulated basket on a rocaille stem and rockwork vase, shell form bowls flanking an allegory of spring, height 18 in., width 13 3/4 in., depth 12 3/4 in. $800/1200


$2500/3500 W 1123. An Empire Gilt

1120. A Louis XVI-Style Baldachin, scrolled acanthus cartouche, arched crest.

Bronze-Mounted Mahogany Gentleman’s Dressing Mirror, mid-19th c., arched mirror on rectangular supports mounted with candlecups, one drawer case with canted corners, plinth base, height 25 3/4 in., width 22 in., depth 9 3/4 in.





1122. An Antique Portuguese Carved Walnut Four Poster Bed, early 19th c., having a fabric covered canopy, barley twist posts, carved shield crest, barley-twist stiles interspersed by turned pendant drops, molded rails, conforming footboard, height 92 in., length 76 7/8 in., width 46 7/8 in.

1121. A Louis XV-Style Carved Walnut Duchesse, carved crest, serpentine seat rail, cabriole legs, height 41 in., width 29 in., depth 81 1/2 in. $200/400



1124. A Directoire BronzeMounted Walnut Bureau Plat, early 19th c., the galleried top having a leather writing surface with figured walnut border, frieze with two rosewood and satinwood banded drawers on square tapered legs ending in brass ferrules, casters, height 31 3/4 in., width 61 1/4 in., depth 29 1/4 in. $2000/3000 1125. Bernaetz (German, late 19th/early 20th c.), “Still Life with Dahlias and Tulips in a Golden Urn”, oil on canvas, signed lower right, 60 in. x 96 in., in a carved and gessoed giltwood frame.




1126. Mozart Rottman (Hungarian, 1874-1961), “Reading the Cards”, oil on canvas, signed lower right, titled “Bonne Overture (Good Fortune)” en verso of frame, supply stamp en verso of canvas, 31 1/2 in. x 23 1/2 in., in a giltwood frame.

1128. French School, mid-19th c., “Portrait of a Seated Gentleman”, pastel on paper, signed “... Maurebet” and dated “1842” lower right, 19 1/2 in. x 16 in., in a period carved and giltwood frame.


Dinner Service for Eleven, stamped marks, various attractively stamped gilt borders, comprising 12 dinner plates, 11 luncheon plates, 11 dessert plates, 13 bread plates, 8 coffee cups, and 11 saucers. (approx. 66 pcs.)

W 1132. A Pair of Salviati Glass Penguins,


W 1133. A Lalique Frosted Glass “Swifts”

W 1127. French School,

early-to-mid 19th c., “Rowboat Approaching Schooner”, oil on canvas, unsigned, 11 in. x 13 in., in a wood frame. $800/1200


W 1131. A Good Group of Antique Page

Turners, including two sterling silver examples, c. 1900, by Gorham, length 12 in., one with hollow handle; and 1 mother-of-pearl page turner, length 8 1/2 in., total weight (weighable) 4.10 troy ozs., (3 pcs.) $500/700

W 1129. A Haviland & Co. Limoges Partial

W 1130. A French Gilt Bronze, Onyx and

Champlevé Encrier, foliate and avian decorated border, portrait mask handles, the onyx body mounted with ink stands and pen holder, on turned feet, height 4 1/4 in, width 13 in., and depth 8 3/4 in.

signed, the tallest 7 3/4 in., diameter 5 1/2 in. $500/750

Pattern Vase, flared form molded with birds, base with etched marked “Lalique© France”, height 9 5/8 in. $600/800

$300/500 W denotes the lot is illustrated at


1137. John Henry Dolph (Belgian, 1835-1903), “Kittens”, oil on canvas, signed lower left, 16 in. x 13 in., in a later frame. $1000/1500 W 1138. J.C. van der Hayden (Dutch, 20th c.), “Flowers”, 1951, oil on canvas,

signed and dated lower right, 24 in. x 19 1/2 n., in a wood frame. $700/900 1139. A Suite of Eight Louis XIV-Style Carved Fruitwood Fauteuils à la Reine, square back, scrolled arms, incurvate legs joined by stretchers. $800/1200 1140. A Pair of Empire-Style Carved Fruitwood and Gilt Bronze-Mounted Beds, each with foliate finial, paneled head and footboard with beribboned floral mounts, height 48 1/2 in., length 78 in., width 39 3/4 in. $700/1000



W 1134. A Carved and Gilt Architectural Panel,


decorated with squirrels amid openwork grapevines, height 41 1/4 in. width 41 1/2 in, height 41 1/4 in., width 41 1/2 in. $200/400 1135. A French Egyptian-Revival-Style Copper Clad Stone Garden Sculpture of a Female Bust, 19th c., the detailed figure now white-washed, height 31 in., width 20 1/2 in., depth 14 in. $700/1000 W 1136. A Continental Bronze of a Whippet,

20th c., the elegant canine with a long curled tail, on a rectangular bronze base, height 3 1/2 in., width 5 1/4 in., depth 2 3/4 in. $200/400



1141. A Patinated Bronze Pedestal of Renaissance Inspiration, square top, cove molded frieze, tapered stem, flared base, canted scrolled feet, rosettes, leaves and sprays overall, height 33 in. $200/400 1142. An Antique Louis XV-Style Kingwood and Ormolu-Mounted Serpentine Block-Front Commode, 19th c., molded marble top above three drawers, molded stiles, serpentine sides, conforming apron, cabriole legs, height 34 in., width 51 1/2 in., depth 22 in. $1200/1800 W 1143. A Pair of Directoire-Style

Carved Fruitwood Fauteuils, padded back, scrolled arms, cabriole legs.



$500/750 1144. A Pair of Baroque-Style Carved, Ebonized and Giltwood Blackamoor Pedestals, c. 1900, shaped shelf with scrolled and tasseled rail, the blackamoor terms on tripodal base, height 36 3/4 in., diameter 16 in. $1000/1500 1145. A Pair of Louis XV-Style Gilt Bronze Figural Chenets, 19th c., numbered “LB//6097/Z”, modeled cherubs holding flames, on a cloud background, scrolled base ending in flames, height 13 in., width 12 in., depth 7 in.



$800/1200 W 1148. A Large Continental

1145 1146. A Pair of Fine Continental Painted Porcelain Chargers, 19th c., probably Limoges, one an Italian ruin, the other a courting couple, both in later shadowbox frames, diameter 15 1/2 in. $1000/1500

W 1147. An Antique Continental

Carved, Gessoed and Gilded Wood Frame, containing a later oval portrait of a lady, 30 in. x 25 in.

Porcelain Jardinière c. 1900, large, twisting lobes, the reserves with griffins and gilt arabesque motifs, height 12 in., diameter 16 in. $300/500

$500/750 W denotes the lot is illustrated at




W 1149. A Pair of Continental

W 1154. A French Cut

Lithophane Portraits of Women at Leisure, one marked “PPM 35” en verso and the other marked “PPM 317” en verso, each 5 1/8 in. x 4 1/4 in., together with three Continental arched lithophanes of scenic views, marked “120”, “797” or “872”, each 2 3/8 in. x 2 7/8 in. Note: Two restored.

Crystal Centerpiece, mid19th c., of bateau form with engraved flowers, the sides with cut fronds; associated Rococo silverplate scrolled frame, height 8 in., width 16 in., depth 9 in. $1000/1500



1150. A Pair of Louis XVI-Style Marble Pedestals, each reddish brown with gilt bronze mounts, height 44 1/2 in., width 16 in., depth 16 in. $1800/2500

1155. A Chippendale-Style Carved Giltwood Mirror, boldly pierced C and S scrolled icicle-hung surround, beveled mirror plate, height 54 in., width 34 in. $1000/1500

1151. A Monumental Louis XIV-Style Carved and Argenté Marble Top Center Table, rosette blocks, flared columnar legs joined by incurvate stretcher and ending in lotus blossom feet, height 32 3/4 in., width 75 in., depth 38 in. $4000/6000 1152. A Decorative Silverplate Epergne, marked “Royal Castle Sheffield EP”, circular form with four scrolled acanthus supports, centering a cut and etched glass bowl, the arms fitted with matching glass bowls, height 13 1/4 in., bowl diameter 10 1/2 in. $1500/2500 W 1153. An Antique French Argenté Three-

Light Bouillotte Lamp, vasiform standard, trumpet supports, on reticulated base, height 22 in., diameter 18 in. $500/750



Provenance: Made for a private collection by the esteemed mid-20th c. cabinetmaker Gro Uthman, Murfreesboro, Tennessee. W 1156. A Pair of Chinese

Carved White Overlay Blue Glass Vases, 20th c., each carved in mirror image throughout the white overlay with five cranes in flight above rocks and lingzhi, heights 12 1/4 in. $400/600

1157. An Antique English Carved Mahogany Tallcase Clock, 19th c., scrolled pediment with sphinx finial, the dial signed “J. Smith, Keighley”, painted with scenes of ruins and the countryside, flanked by brass-mounted columns, case with rounded corners, shield-form base panel, height 102 1/2 in., width 27 1/4 in., depth 11 in. $1800/2500 1158. A Black Forest Carved Hardwood Figural Card Stand, in the form of a bear holding a tray, ovoid plinth base, height 21 1/2 in.


$300/500 W 1159. Anne Wilson

Goldthwaite (American/ Alabama, 1869-1944), “The Violinist and a Duck”, “An Organ Grinder” and “French Horn Player”, a graphite drawing and two pen and ink drawings respectively, all pencilsigned lower right, 12 in. x 9 in., unframed, (3 pcs.) $500/800 1160. Hananiah Harari (American, 1912-2000), “Sky Passage”, oil on canvas, signed lower left, titled en verso, 18 in. x 24 in., framed. $2000/3000 Note: In the 1930s, Hananiah Harari was one of a group of American painters that promoted the cause of international Modernism and Abstraction in the United States, as well as, a member of the Abstract American Artists. Throughout his career as an illustrator for leftist magazines and an art instructor at the School of Visual Arts in Manhattan, he alternated between abstractism, realism, portraiture and trompe l’oeil. His work is included in the permanent collections of the Metropolitan Museum of Art, the Philadelphia Museum of Art, Brooklyn Museum of Art and others.

1161 1157

1161. Hasmig Vartanian (Israeli/ Louisiana, b. 1946), “Mountain Mimicry”, 2006/07, mixed media on wood, signed, titled and dated en verso, 22 1/2 in. x 22 1/2 in., framed.


$800/1200 Provenance: Cole Pratt Gallery, New Orleans.


1162. Hasmig Vartanian (Israeli/Louisiana, b. 1946), “Untitled”, mixed media on board, signed lower right, Galerie Simonne Stern New Orleans LA label en verso, 27 3/4 in x 34 3/4 in., framed. $1000/1500

W denotes the lot is illustrated at





W 1164. A Diminutive Arts and Crafts


Carved, Ebonized and Painted Chair, early 20th c., floral-carved back, curved arms, curule legs, stretchers. $200/400 1165. An American Renaissance Highly Carved Mahogany Sofa, Hale & Kilburn, Philadelphia, stepped gadrooned and foliate crest, shaped arms with griffin supports, acanthine scroll terms above paneled tapering legs, leaf carved seat rail, casters, height 41 in., width 68 1/2 in., depth 29 in. $700/900


W 1163. Emery Clark (New Orleans, b.

1950), “Gulf Sunset Storm”, 1987, mixed media, unsigned, Galerie Simonne Stern label en verso, sight 15 in. x 23 in., matted and framed. $500/750


1166. An American PaintDecorated, Ebonized and Gilt Center Table, mid-19th c., probably Hart, Ware & Co., Philadelphia, circular dished tilt-top with a floral reserve and gilt surround, turned vasiform stem on arched legs, scrolled toes, casters, height 29 in., width 38 in. $500/750

1167. An American Renaissance Carved Walnut Refectory Table, late 19th c., gadrooned top, dentil molded skirt, acanthus carved supports ending in paw feet, connected by a cartouche carved medial stretcher, height 30 in., width 78 in., depth 32 1/2 in. $1200/1800 1168. A Good Pair of American Renaissance Carved Walnut and Burled Armchairs, late 19th c., arched cartouche carved crest rail, foliate-carved stiles, padded arms, anthemion uprights, rounded seat rail, turned toupie feet, casters, height 42 in. $1000/2000 1169. Alexander John Drysdale (American/New Orleans, 18701934), “Live Oaks, Louisiana Bayou”, oil wash on board, signed lower left, sight 10 in. x 15 in., in a period frame. $1500/2500

1170. William Baptiste Baird (American, 18471917), “Flock of Sheep”, oil on canvas, signed lower right, 12 3/4 in. x 18 1/4 in., attractive carved and gilt frame. $1000/1500 W 1171. [Antique Map of

Louisiana], “State of Louisiana”, 1876, by C. Roeser, Department of the Interior, Washington, D.C., chromolithograph by Julius Bien, New York, showing details of towns, cities and railroads as well as boundaries of land districts and counties, sheet 30 3/4 in. x 24 3/4 in. $500/750 Reference: Lemmon, Magill & Weise, Charting Louisiana, Historic New Orleans Collection, 2003, pg. 186.

1172. [Antique Insurance Map Folios of New Orleans], Insurance Maps of New Orleans, various dates 1909-1940, published by Sanborn Map Co., New York, hand-colored maps showing real estate details of Uptown, Broadmoor, Mid-City, Metairie, Marigny, Westwego, Gretna, Marrero, Harvey and parts of Jefferson and St. Bernard Parishes, 27 in. x 18 in. Note: various condition, pencil notations, etc. $1000/1500 W 1173. [Antique

Insurance Maps of the Mississippi Gulf Coast], 1921-1924, published by Sanborn Map Co., NY, handcolored maps, including Biloxi (25 sections), Gulfport (25 sections), Pass Christian (5 sections) and Long Beach (10 sections), sheets 25 in. x 20 1/4 in. $700/1000 W 1174. [Antique



W 1175. [Antique Insurance

Maps of Covington, LA], 1921, published by Sanborn Map Co., NY, hand-colored maps, showing real estate details, in 9 sections, sheet 25 in. x 20 in. $400/600 W 1176. [Antique Insurance

Maps of Opelousas and Napoleonville, LA], 1912-1921, published by Sanborn Map Co., NY, hand-colored maps of Opelousas (9 segments) and Napoleonville (4 sections), showing real estate details, sheet 25 in. x 20 in. $400/600 1178

W 1177. An Antique English or

American Gothic Iron Bench, probably late 19th c., arched back centered by a shield within a roundel, quatrefoil uprights, scroll arms, plank seat, bracketed legs on arched feet, height 38 in., width 48 in., depth 23 in.

W 1179. An Antique American Giltwood Mirror, 19th

c., oval ogee-molded frame with pebbled decoration, mounted with fruit and acorns, height 32 in., width 28 in. $500/750

$600/800 Note: This pattern, first introduced by Coalbrookdale Company in 1854, was published in America by Wood & Perot of Philadelphia as early as 1858. An identical Wood & Perot settee is illustrated in Israel, Barbara. Antique Garden Ornament, p. 171, pl. 4.9.

Insurance Maps of Lake Charles, LA], 1919, published by Sanborn Map Co., NY, hand-colored maps of real estate details, presented in 29 segments, sheets 25 in. x 20 in.

1178. An American Cast Iron School Bell, mid-19th c., labeled “Steel Allory School Bell”, complete with clapper and cast iron yoke, wheel and supports, now mounted on a wooden base.



W 1180. An American Renaissance Carved Walnut,

Gilt Incised and Ebonized Slipper Chair, late 19th c., New York, turned spindled crest rail with central cartouche, incised stiles, lappet carved arms, shaped seat rail and turned legs. $300/500 W 1181. An American Classical Carved Mahogany

Chest of Drawers, mid-19th c., outset drawer over three graduated drawers flanked by rope twist and ring turned columns, turned feet, casters, height 49 1/2 in., width 47 in., depth 24 in. Note: Estate condition. $400/600

W denotes the lot is illustrated at





1182. An American Late Classical Mahogany Mixing Table, 19th c., Philadelphia, paneled frieze drawer, scrolled volute ends, single door, ogee plinth, bracket feet, height 35 1/2 in., width 36 in., depth 19 in. $1200/1800 1183. An American Renaissance Carved Walnut Armoire, mid-19th c., arched molded cornice centered by an incised leaf and cabochon cartouche, arched mirrored doors, leaf carved molded center stile, divided interior with one shelf, the base with two drawers, height 104 in., width 73 1/2 in., depth 21 in. $1000/2000 1184. Colette Pope Heldner (American/New Orleans, 1992-1990), “Swamp Idyll (Louisiana Bayou Country)”, oil on canvas, signed lower left, signed and titled en verso, 20 in. x 36 in, attractively framed. $1500/2500



1185. Rolland Harve Golden (American/New Orleans, b. 1926), “Hotel at Corner of Canal, South Peters and Tchoupitoulas Streets, New Orleans”, 1960, watercolor on paper, signed and dated lower right, sight 20 1/2 in. x 28 1/8 in., in a period frame. $1000/1500

1186. Charles H. Chapin (American/ Louisiana, 1830-1889), “In the Willows, Lake George”, oil on canvas, signed lower left, titled en verso, 12 1/8 in. x 20 in., original giltwood frame.



1191 W 1187. John

Pike (American, 1911-1979), “Shrimp Boats on a Louisiana Bayou”, 1950, watercolor on paper, signed and dated lower right, sight 21 in. x 14 1/2 in., matted and framed; together with a 1950 Esso Standard Oil Company Map of Arkansas, Louisiana, Mississippi featuring this watercolor as the cover illustration.

1188 1192

1188. Emmitt Thames (American/Mississippi, b. 1933), “Sailing Ship and Buoy”, 1969, watercolor, signed lower right, sight 20 in. x 27 1/2 in., matted and framed.


$1200/1800 1189. Emmitt Thames (American/Mississippi, b. 1933), “Landscape”, 1970, watercolor, signed and dated lower right, sight 21 1/2 in. x 29 1/4 in., matted and framed. $1200/1800 1189 1190. Southern School, late 19th c./early 20th c., “Steamboat Mississippi”, oil on wood panel, signed “Nittro” lower right, 4 3/4 in. x 8 3/4 in., in a giltwood frame. $700/1000 1191. Charles Henry Reinike (American/ Louisiana, 1906-1983), “Shrimp Boats”, watercolor on paper laid down on board, signed lower right, sight 6 3/4 in. x 9 1/2 in., attractively matted and framed. $500/750 1192. Jack Meyers (American/New Orleans, 1930-1994), “Airing Quilts”, oil on canvas board, signed lower right, 5 in. x 7 in., attractively framed. 1190

$1200/1800 W denotes the lot is illustrated at


W 1199. Edward

Johnson (American/ Southern, 20th c.), “Cotton Picking Scene”, 1934, oil on canvas board, signed and dated lower right, 17 1/2 in. x 23 1/2 in., framed. $200/400 1200. Alfred Heber Hutty (American/ Charleston, 18771954), “Edisto Cabin”, drypoint on paper, pencil-signed, plate 2 5/8 in. x 3 7/8 in., sheet 5 3/4 in. x 6 3/4 in., in original frame.




1194. Earnest Williams (American/ Alabama, late 20th c.), “Fields of Pleanty”, oil on board, signed lower right, titled en verso, 14 3/4 in. x 16 3/4 in., in the original frame. $800/1200 Provenance: Al Blanton, Marion, Alabama. W 1195. An Acadian Hickory Child’s


Ladderback Chair, early 19th c., finials, two graduated slats, turned legs, stretchers, pegged construction. $200/400 W 1196. A Pair of American

Rosewood Faux Bois and Gilt Side Chairs, mid-19th c., shaped slats, curved uprights, caned seat, rounded rail, saber legs connected by stretchers. $200/400 W 1197. A Carved and Polychromed

Pine Four Panel Dressing Screen, probably Mexican, depicting various saints, Adam and Eve, and Mary, arched legs, height 63 in., width 47 1/2 in. 1200

$150/250 W 1198. Anthony Buchta (American,

1193. Jack Meyers (American/New Orleans, 19301994), “Washing Day”, oil on canvas board, signed lower left, 5 in. x 7 in., attractively framed. $1200/1800

1894-1967), “Patio in Old New Orleans French Quarter”, watercolor on board, signed lower right, pencil-signed, titled and inscribed “Nashville, Ind-” en verso, 10 7/8 in. x 9 1/4 in., matted and framed. $300/500


Note: Illustrated in Boyd Saunder’s Alfred Hutty and the Charleston Renaissance, fig. 115. 1201. An American Vernacular Twig Rocking Chair, 19th c., Tennessee, bentwood back and arms, circular plank seat, splayed legs joined by stretchers, height 38 1/2 in. $500/750 W 1202. [Civil War

Letter], autograph letter signed, by George Valentine Massey, to his mother, dated June 30, 1863, Baltimore, MD, one sheet, 4 pages, relating events in campaigns with “Rebels”, framed with a printed document from the Pennsylvania Railroad Company, a resolution on the retirement of Massey. $500/750 Note. George Valentine Massey started as a lieutenant in the Union Army, for the Delaware Volunteer Cavalry, rising to Assistant AdjutantGeneral for the General Staff of the Army. After the war, he became a prominent lawyer, eventually becoming the head of the legal department for the Pennsylvania Railroad Company.

1203. A Civil War Commemorative Scrimshaw Gavel, 19th c., celebrating the Union Victories and eventual control of the Mississippi River, the turned ivory gavel with portrait busts of Admirals David Farragut and David Porter, the central panel depicting a map of the river, showing Vicksburg, Grand Gulf, Port Hudson, Baton Rouge, New Orleans and Fort Jackson; the top with a double-masted Navy ship, with a turned ebony baluster handle, length 8 3/4 in. $1500/2500 W 1204. [Confederate Civil War Letter], autograph

letter signed, from Charles A. Stewart (Missouri Artillery), to his cousin, dated from Camp Ingraham, MS, June 4th, 1862, 14 pages, on 4 sheets, describing various events including: traveling through Arkansas, steamboat, ladies supplying food, traitors joining “Old Abe and his Abominable Crew”, the evacuation of Corinth, etc.


$700/900 W 1205. A New York State Civil War Frock Coat,

1203 (detail)

black wool, with New York State “Excelsior” brass buttons, the backs marked “Scoville Mfg.”, “Extra Quality” and “Waterbury Button Co.”, 11 buttons on front, 4 on back, 5 buttons on sleeves (one missing). $600/900 W 1206. A Louisiana Washington

Artillery Civil War Kepi, wool, leather bill, brass eagle and shield buttons, the top with crossed-cannon badge. Note: losses. $800/1200 Note: The Washington Artillery was organized in 1838. It was an exclusive militia organization open only to the gentry of New Orleans. W 1207. An Antique Paint-Decorated

Drum with Drumsticks, 19th c., probably Swiss, metal body with wooden rims, rope and leather tensioners, painted symbol of liberty of “Canton de la Celle, 1792/ Vaincre on Mouir” (Liberty or Death), with antique metal-clad drumsticks, note: skins missing or torn, height 21 in., diameter 13 in. 1209

$400/600 W 1207A. A Pair of Utah Pioneer

Jubilee Porcelain on Tin Cups, c. 1897, depicting wagon trains, Indian wars, the state seal, and floral garlands with bees, height 4 in. $500/700 W 1208. An Antique Italian Brass Tuba or

Helicon, late 19th c., with decorative, engraved rotary valves, the label reading “Premiata Fabrica Fer Roth, Milano”, bell diameter 10 3/4 in. $600/900


1209. An American Polychrome Bronze and Metal Piano Lamp, late 19th c., in the form of bound bamboo, with lily-pad shelves, the oil lamp now fitted for electricity, height 68 in., diameter 18 in. $1000/1500

1210. An American Classical Carved Mahogany Wardrobe, molded cornice, paneled doors with ripple molding enclosing divided interior of shelves and drawers, bracket feet, brass plaques, reading “207” and “Sibyl Tatum Jones Collection of The Gloucester County Historic Society”, height 87 in., width 60 in., depth 22 1/2 in. $1000/1500

W denotes the lot is illustrated at


1214. A Pair of American Cast Iron Figural Andirons, mid-19th c., modeled as a male and female couple wearing finery, height 16 1/2 in., width 10 in., depth 20 in. $400/600 W 1215. An Antique Oak and

Brass Umbrella Stand, slatted sides with lion’s mask handles, tapered legs centered by drip pan, pad feet, height 30 in., width 12 in., depth 12 in. $300/500 1214 W 1216. American School, late

19th/early 20th c., “AfricanAmerican Fellow in a Straw Hat”, oil on artist board, unsigned, 8 1/8 in. x 6 3/8 in., in a period frame. $200/400 Provenance: Descended in the E.C. Walker Family, Bayou Manchac, Louisiana. 1217. Southern School, late 19th c., “Street Urchin”, 1897, oil on canvas, indistinctly monogrammed and dated lower right, 10 in. x 7 in., period giltwood frame. 1211

1211. An American Renaissance Carved Walnut and Burled Shaving Stand, late 19th c., adjustable mirror in a carved yoke, inset marble top, paneled drawer, faceted tapered stem, arched carved legs, block feet, height 69 1/2 in., width 24 in., depth 21 in.

$500/750 W 1218. Xavier de Callatay

(American/New Orleans, 1825-1925), “Boy Reading”, watercolor, signed lower right, 22 in. x 30 in., matted and framed. $500/700 W 1219. Horace Talmage Day


(American/Virginia, 1909-1984), “Bradford Pear Tree in Bloom”, 1950, oil on canvas, signed and dated lower right, 22 in. x 16 in., framed.

$400/600 W 1212. An American

Mahogany Gentleman’s Dressing Chest, c. 1840, galleried superstructure over two glove drawers; case with bolection drawer over cupboard doors flanked by tapering columns, turned feet, crossbanding throughout, height 51 1/2 in., width 43 in., depth 20 1/4 in.

$500/700 1220. David Stirling (American, 1887-1971), “Estes Park”, 1939, oil on board, signed lower right, signed, titled and dated en verso, 24 in. x 30 in., original frame.

$400/600 W 1213. An American Late

Classical Bronze-Mounted Mahogany Bookcase, late 19th c., blocked frieze with classical mounts, two glazed doors flanked by bronze mounted columns, plinth base, adjustable shelves, height 59 3/8 in., width 55 3/8 in., depth 17 5/8 in. Note: Missing foot. $500/700


$1000/1500 1220

1221. Henry Atwood (American, 20th c.), “Early Morning, Fecamps”, oil on board, signed lower right, inscribed and titled en verso, 28 in. x 36 in., ornate giltwood frame. $500/750 1222. Mose Ernest Tolliver (American/ Alabama, 19202006), “Blue”, oil on plywood, signed lower right, 18 1/2 in. x 20 1/2 in., unframed.

1222 1221

$500/700 1223. George Sanders Bickerstaff (American/ California, 1893-1954), “Mountain Landscape”, oil on canvas, signed lower right, 24 in. x 36 in., framed.


$700/900 1224 1224. American School, 19th c., “Nature Morte: Birds and Fruit”, oil on board, unsigned, 22 1/2 in. x 16 3/4 in., in a period gilt wood frame with oval inset.

W 1227. Philip Sage (American/New

Orleans, b. 1942), four prints, “Saint Charles Avenue Street Car”, 1974, etching, pencil-signed, titled, dated, and numbered, sight 15 1/2 in. x 18 1/2 in.; “Roman Candy Wagon”, etching, pencilsigned and titled, artist’s proof, sight 21 in. x 14 1/2 in.; “Entrance to Audubon Park”, 1980, pencil-signed, titled, dated, and numbered, sheet 18 3/4 in. x 22 in.; and “Carousel in City Park”, 1986, etching, pencil-signed, titled, dated, and inscribed, artist’s proof, sheet 16 1/4 in. x 19 1/4 in., two matted and framed, and two unframed respectively. (4 pcs.)

$800/1200 W 1225. Cora

Bliss Taylor (American/ Michigan, 18951986), “Royal Street, French Quarter Street Car Tracks” and “Gated Park with Palm Trees and Church”, two watercolors, each signed lower left, each 14 1/2 in. x 11 1/2 in., in matching frames. $400/600

$800/1200 1226 W 1228. Jean Louis Lefort (French, 1875-

1226. Charles Whitfield Richards (American/New Orleans, 1906-1992), “Birds on a Wire”, oil on canvas, signed lower center, 11 in. x 14 in., framed.

1954), “Feeding the Cat”, oil on wood panel, signed lower right, 10 in. x 10 in., framed. $600/900


W denotes the lot is illustrated at



W 1233. An Aubusson Carpet, cream ground, allover floral motif, écoinçons of palm trees, muted palette, 12 ft. x 8 ft. 9 in.

1230 (1 of a pair)


$700/1000 Provenance: Peal & Co.

W 1229. Jean Louis Lefort

W 1234. A Persian Carpet, cream

(French, 1875-1954), “Bathing at Sea”, oil on wood panel, signed lower right, 9 3/4 in. x 7 1/2 in., framed.

ground, overall floral vine motif in crimson, blue and yellow, 10 ft. 11 in. x 7 ft. 6 in. $500/700

$600/900 W 1235. A Semi-Antique Persian Rug,

1230. A Pair American Bronze and Slag Glass Chandeliers, c. 1900, each with foliate corona issuing brass chains, the circlet with Greek key, egg and dart acanthus and rosette decoration, shade with cranberry and opalescent glass, turned pendant, height 61 in., diameter 32 in.

red and blue ground, center field with repeating motif of floral vases, palmette border, 9 ft. 6 in. x 11 ft. 6 in. $700/1000 1237


1236. Noel Rockmore (American/New Orleans, 1928-1995), “Girl with Guitar”, 1960, oil on canvas, signed and dated lower left, 24 in. x 16 in., unframed. $1000/1500

1231. A Persian Heriz Carpet, cream ground, allover floral geometric design in blue, red, and orange, vine motif border, 11 ft. 6 in. x 4 ft. 11 in.

1237. Larry Rivers (American, b. 1923), “Blue Line Camel”, 1978, pochoir with color and pencil on acetate, pencil signed lower right, sight 17 1/2 in. x 23 1/2 in., framed. Note: condition.



W 1232. A Persian Josheghan Carpet,

1238. Celia Cregor Reid (American/Florida, 1895-1956), “Wash Day”, “Pier”, and “Back Alley”, watercolors on paper, two signed lower right, the latter unsigned, 13 in. x 9 7/8 in., 11 in. x 14 in., and 11 3/4 in. x 9 7/8 in. respectively, all matted.

crimson ground, central geometric medallion, overall triangular floral motif, intricate geometric floral vine border, 10 ft. 5 in. x 7 ft. 3 in. $1500/2000 1238



Historic Estate for Sale Eutaw, Alabama

Everhope Plantation c. 1852 • National Register of Historic Places • Period Architectural Details • Eight Picturesque Acres • Restored to Its Former Splendor • S lave Quarters & Several Outbuildings • Rear-Wing with Gourmet Kitchen • L ocated just 30 minutes from Tuscaloosa

Offered at $549,900 For more information contact Vanessa Lockhart @ 205-331-3721 or

Neal Auction Company ✹SUBSCRIPTION ORDER FORM ✹ Annual subscription�������������������������������������$125 International subscription�������������������������$325

Name���������������������������������������� Address �������������������������������������� City ________________________________________ State _________________ ZIP Code�������������

Mail check and order form to: Neal Auction Company 4038 Magazine Street New Orleans, Louisiana 70115 or e-mail to: or fax to: 504-617-6539






Card number������������������������������� Expiration Date ________________ V-Code ������� Signature X�����������������������������������

W denotes the lot is illustrated at


Important Bidding Information All Absentee/Telephone bids for the Saturday and Sunday auction sessions must be received by Friday, November 18 at 5 P.M. C.S.T. For a Telephone Bid each item must have a minimum low estimate of $500. Visit

GLOSSARY OF TERMS Please note that all of the terms and descriptions used in this catalogue are intended as qualified opinions only and are subject to the Conditions of Sale and Limited Warranty set forth elsewhere. Neal Auction Company assumes no express or implied warranty with respect to these terms and descriptions, and they shall not be construed to be a warranty, representation or assumption of liability. Subject to the foregoing, with respect to authorship of works of art, the following terms shall have the following meanings:

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

George Inness - In our qualified opinion, we believe the work is by the artist named.

After George Inness - In our qualified opinion, the work is a copy of a known work of the artist named.

Attributed to George Inness - In our qualified opinion, we believe the work may be ascribed to the artist named on the basis of style and period, but our opinion is less certain than in the previous category.

Bears signature “George Inness” In our qualified opinion, although the work bears the signature or monogram of the artist, the work most likely is not that of the artist.


School of George Inness - In our qualified opinion, the work is of the period of the artist named, by a student or a follower of the artist, but not by the artist. Manner of George Inness - In our qualified opinion, although the work is in the style of the artist named, it is actually of a later period.

WIRE TRANSFER INFORMATION: Capital One 313 Carondelet Street New Orleans, LA 70130 504-533-7223 ACCT# 026223628 ROUTING #065000090 International Swift #HIBKUS44


William Baptiste Baird, 1170 Marquis François de BarbéMarbois Lorenzo Bartolini, 315 Antoine-Louis Barye, 780 Emerson Bell, 1073 Fletcher Benton, 550 Bernaetz, 1125 George Sanders Bickerstaff, 1223 Ferdinand Bigard, 582 François Bourdilliat, 254 Anna Mary Richards Brewster, 1066 Anthony Buchta, 1198 William Henry Buck, 203, 297 Norton Bush, 1008


Xavier de Callatay, 1218 John Reed Campbell, 883 Charles Chapin, 1186 Chinese School, 461, 603, 625, 635, 653, 673-675, 723 Chiurazzi, 62 C. Myron Clark, 923 Emery Clark, 1163 George Henry Clements, 339 Samuel Colman, 330, 1006, 1007 Charlotte Buell Coman, 1062 Marilyn Conrad, 885 Continental School, 792 Jacob de Cordoba, 241 Cornelius and Baker, 359 Richard Cosway (attr.), 412 William Couper, 280


Jacques-Louis David (aft.), 93 Ronald Davis, 589 Horace Talmadge Day, 1219 Eugene Delcroix, 588 Sidney Edward Dickinson, 910 Herbert Dicksee, 523, 524 John Henry Dolph, 1137 Edward Algernon Stuart Douglas, 938 Alexander John Drysdale, 145, 157, 845, 846, 865, 1169 Raoul Dufy, 592 George Bauer Dunbar, 139, 140, 542 George Dureau, 586, 587

Caroline Wogan Durieux, 1086


Charles Warren Eaton, 272 Lin Emery, 549 English School, 91, 756 James Guy Evans, 224, 246


Nino de Fiesole, 1068 Jean Nevitt Flanigen, 590 Charles Fraser, 198 French School, 973, 974, 1127, 1128 French or Italian School, 89 William Frye, 852


Rolland Harve Golden, 1185 Anne Wilson Goldthwaite, 1159 Jean Louis Gregoire (aft.), 13 Angela Gregory, 552 Selina Elizabeth Bres Gregory, 908 Louis Oscar Griffith, 487 Paul-Louis-Narcisse Grolleron, 436 Charles Paul Gruppe, 1082 Robert Gruppe, 481, 482 Simon Gunning, 334, 340, 543, 1065


Hananiah Harari, 1160 Henri-Joseph Harpignies, 437 J.C. van der Hayden, 1138 Alfred Hazledine, 791 Colette Pope Heldner, 926, 1184 Knute Heldner, 476, 484, 907, 924 Robert Henri, 113, 114 John Wlliam Hill, 186 Hiroshige, 719 Morris Henry Hobbs, 477-479, 485, 486 Anton Hohenstein (aft.), 525 Katsushika Hokusai, 718 William R. Hollingsworth, Jr., 343, 849, 906 Robert Hopkin, 270 Jean-Antoine Houdon (aft.), 302 Whitney Hubbard, 1076 Marie Atkinson Hull, 141, 344, 474 Clementine Hunter, 346 Alfred Hutty, 331, 1200


Andres de Islas, 244 Josef Israels, 328 Italian School, 88


Harry Jackson, 1026 Japanese School, 700 Geoffrey Jenkinson, 936 Edward I.R.Jennings, 848 Edward Johnson, 1199

Nell Choate Jones, 342 Henri Joutel, 239


Alberta Kinsey, 332, 345 Everett Raymond Kinstler, 911 Kobayashi Kiyochika, 721 Adolph Kronengold, 480 Walt Kuhn, 593


Harry B. Lachman, 115, 116 Charles Lacoste, 329 James Lamantia, 333 Marie Laurencin, 104 Jean Louis Lefort, 1228, 1229 Gaston V. Leroux, 63 Louisiana School, 159, 869


François Mage, 809 Leon A. Makielski, 1079, 1080 Émile Marin, 82 John Marin, 137 Nicola Marschall, 887, 888 Julia Massie, 868 John McCrady, 526 James Edwin Meadows, 937 Joseph Rusling Meeker, 195 Geneva Mercer, 1072 Mexican School, 451 James Michalopoulos, 1064 Clarence Millet, 142 Christopher Moore, 430 Hippolyte François Moreau Friedrich Ernst Morgenstern, 935 Louis-Marie Moris(e), 281 Ann Wells Munger, 544 Jack Myers, 1192, 1193


Paul Ninas, 337 David Sinclair Nixon, 553, 554


Jean-Baptiste Oudry (attr.), 90 Will Ousley, 925


Thomas Paquette, 1077 C.R. Parker (attr.), 156, 844 Achille Perelli, 206, 866 Jane Peterson, 111, 112, 1067 Prof. A. Petrilli, 8 Pablo Picasso, 105, 106, 547 John Pike 1187 Henry Popple, 240 Maurice Prendergast, 138


Celia Cregor Reid, 1238 Robert Lewis Reid, 136 Charles Henry Reinike, 1191 Charles Whitfield Richards, 1226 Adolf D. Rinck, 204 Larry Rivers, 1237 William S. Robinson, 347 Noel Rockmore, 1236

George Rodrigue, 884, 1063 Mary Washington Rose, 205 James Rosenquist, 548 Mozart Rottman, 1126 Robert Rucker, 555


Philip Sage, 1227 Percy Sanburn, 1061 John Tarrell Scott, 551 Jean Seidenberg, 546 Kasamatsu Shiro, 720 Charles Kenneth Sibley, 922 William Posey Silva, 919 Arthur Silverman, 1069-1071 Jewel Alma Woodard Simon, 591 Hunt Slonem, 556 Alice Ravenel Huger Smith, 143, 1087 Benjamin Franklin Smith, 186 Marshall Joseph Smith Jr. (attr.), 158 Southern School, 847, 850, 867, 1190, 1217 Clemente Spampinato, 1027 Spanish School, 975 Spanish Colonial School, 318 Sir John Robert Steell, 94 David Stirling, 1220


Arthur Fitzwilliam Tait, 271 Cora Bliss Taylor, 1225 Emmitt Thames, 1188, 1189 Thomas Bangs Thorpe, 245 Mose Tolliver, 1222 Sesshu Toyo (aft.), 699 Utagawi Toyokuni, 721 Allen Tucker, 1074, 1075 Arnold E. Turtle, 920 Arnold E. Turtle (attr.), 921 Franklin Tuttle, 851


Hasmig Vartanian, 1161, 1162 George Louis Viavant, 196, 197, 207


Henry Walke, 269 William Aiken Walker, 234-236 Samuel Bell Waugh, 1005 Edwin Lord Weeks, 64 Tom Wesselman, 545 Elisha Kent Kane Wetherill, 1078 James Abbott McNeil Whistler, 1088 Ernest Williams, 1194 Theodore Fonville Winans, 1059 Mildred Nungester Wolfe, 918 Ellsworth Woodward, 886 William Woodward, 338, 341, 483 Virginia B. Woolley, 335

W denotes the lot is illustrated at

Wayman Adams, 336 John E. Alexander, 541 American School, 225, 247, 298, 475, 890, 909, 1004, 1216, 1224 Luis Graner y Arrufi, 144 C. Astorri, 83 Henry Atwood, 1221 John James Audubon, 187-194, 226-233, 510-522

November 19 & 20, 2011 ✹ artist index ✹ artist index ✹ artist index



Neal Auction Company Auctioneers & Appraisers of Antiques & Fine Art 4038 Magazine Street, New Orleans, Louisiana 70115 504.899.5329 • Fax: 504.897.3808 •

Auction Date: November 19 & 20, 2011

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 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, 11/16/11. 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.

First Name: ______________________________________________ Last Name: __________________________________ Company: _____________________________ Address: ________________________________________________________ City: ___________________________________________ Prov/State__________________ Postal Code __________________ Home Ph.: (____)___________________ Work Ph.: (____)______________________ Fax:(____)_____________________ Email: ______________________________________________________





All reports will be sent via Fax or email

❒ Fax

❒ Email

Fax this form to 504-897-3808 on or before Wednesday, 11/16/11. 236

Neal Auction Company


Auctioneers & Appraisers of Antiques & Fine Art 4038 Magazine Street, New Orleans, Louisiana 70115 504.899.5329 • Fax: 504.897.3808 •

Confidential Absentee / Telephone Bid Form


Please Review Guidelines For Absentee & Telephone Bidding: 1. Telephone bidding will be taken at the discretion of Neal Auction Company. Each item must have a low estimate of $500 or more. Absentee bids are gladly accepted for all items below $500. 2. All absentee bids and/or telephone bids must be in our gallery by 5 P.M. CST the Friday prior to the auction. 3. In the event identical bids are submitted, the earliest bid received will take precedence. 4. A 25% deposit must accompany all bids. A credit card number is required for securing your bids. 5. Auction addendum available prior to the auction on the website or via facsimile. 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. 7. In the event of discrepancies, lot number and not lot description will take precedence.

First Last Name: _________________________ Name: ____________________________________ Company: __________________________ Address: ______________________________________________________________________________________________________ City: _____________________________________________ Prov/State _______________________ Postal Code ________________ Home Ph.: (_____)___________________ Work Ph.: (_____)______________________ Fax: (_____)_____________________ Dealer  Resale# ________________________________State __________Email: __________________________________________________ Dealers must provide Neal Auction Company with proper documentation prior to bidding.

MUST PROVIDE: Visa/MC/Discover/Amex_______________________________________ Exp: _______ Credit Card V-code:________

MUST PROVIDE: Cash Payment Check Method: Wire

Credit Card

IF SUCCESSFUL, please bill my card. Number To Call For Phone Bid: (1) (____)__________________________ (2) (____)__________________________



Bid Amount $ or Telephone No.

I understand that Neal Auction Company undertakes the execution of absentee bids as a convenience for clients and is not responsible for inadvertent failure to execute bids, or for any error in the execution of bids. I have read and agree to the “Conditions of Sale” as stated in the catalogue. I understand that a buyer’s premium will be charged on each lot purchased at 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, 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_______________________

Fax Form on or before Friday, 11/18/11 to 504-617-6431 or 504-617-9990

W denotes the lot is illustrated at


Neal Auction Company


Auctioneers & Appraisers of Antiques & Fine Art 4038 Magazine Street, New Orleans, Louisiana 70115 504.899.5329 • Fax: 504.897.3808 • page 2 11/10M

Name: ________________________________________________________________________



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 failure to execute bids, or for any error in the execution of bids. I have read and agree to the “Conditions of Sale” as stated in the catalogue. I understand that a buyer’s premium will be charged on each lot purchased at 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, 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_______________________



Fax Form on or before Friday, 11/18/11 to 504-617-6431 or 504-617-9990

CONDITIONS OF SALE Placing a bid at auction constitutes buyer’s acceptance of and agreement to these Conditions of Sale. 1. WAIVER OF WARRANTY: All lots are sold “AS IS”. No statement regarding condition, kind, value, or quality of a lot, whether made orally at the auction or at any other time, or in writing in this catalogue or elsewhere, shall be construed to be an express or implied warranty, representation, or assumption of liability. Any such warranty is WAIVED. Regarding works of art, Neal Auction Company does not make any express or implied warranty as to authorship. No statement in the catalogue or elsewhere, orally or in writing, shall be construed as an express or implied warranty, representation or limitation of liability as to authorship. Any such warranty is WAIVED. Buyer agrees and acknowledges that: (a) buyer is not relying on Neal Auction Company’s skill or judgment in selecting to purchase any lot; (b) no oral or written statements in the catalogue of Neal Auction Company or elsewhere regarding condition, attribution, kind, quality, value or authorship are the cause of or reason behind buyer’s purchase of any lot; (c) buyer would have incurred the purchase of any lot regardless of any oral or written statements about condition, attribution, kind, quality, value, or authorship made in the catalogue or elsewhere; (d) Neal Auction Company did not know and could not have known that condition, attribution, kind, quality, expressed value, or authorship is the cause or reason why buyer decides to purchase any lot; (e) buyer’s purchase of any lot is not intended to gratify a nonpecuniary interest; and (f) Neal Auction Company did not know, nor should it have known, that any oral or written statement about a lot in the catalogue or elsewhere would cause a nonpecuniary loss to buyer. Notwithstanding the foregoing WAIVER OF WARRANTY, agreements and acknowledgements, Neal Auction Company may in its sole discretion, but shall not be obligated to, consider any reasonable request for rescission of a sale on the basis of authenticity of authorship of a work of art under the following terms and conditions only, all of which must be met: A. Neal Auction Company shall not grant rescission regarding lots identified by Neal Auction Company by the terms “attributed to,” “school of,” “manner of,” “after,” or “signature of.” B. Neal Auction Company shall not grant rescission regarding any lot unless the buyer notifies Neal Auction Company in writing within a reasonable time from the date of the auction, and returns the lot to Neal Auction Company in the same condition that the lot was in at the time of sale. C. Neal Auction Company shall not grant rescission regarding any lot unless the buyer presents to Neal Auction Company a written document signed by a recognized art expert acceptable to Neal Auction Company that the lot in question is a forgery. D. Neal Auction Company shall not grant rescission to any person (including but not limited to the original buyer’s heirs, legatees, assigns, transferees, or subsequent purchasers) other than the original buyer, and any rights of the original buyer are not transferrable or assignable. E. Neal Auction Company shall not grant rescission when: (i) there is a conflict of expert opinion as to the authorship; (ii) expert opinion supported authorship at the time of sale, although expert opinion may have changed after the date of sale; and (iii) scientific processes that were unavailable, expensive or impractical at the time of sale have revealed since the time of sale that the author or period Neal Auction Company believed to be accurate at the time of sale was inaccurate. F. In any dispute between Neal Auction Company and buyer regarding authorship of a work of art, it is stipulated that rescission of the sale and refund of the price paid shall be the buyer’s sole recourse or remedy, if any is available, and Neal Auction Company shall not be responsible or obligated for any damages (including compensatory, general, incidental, exemplary or special damages), non-pecuniary losses, costs, expenses, injury, mental anguish, lost profits, attorney’s fees, or any other monetary or injunctive relief. 2. The auctioneer shall have absolute discretion in determining the successful bidder. At the fall of the auctioneer’s hammer, title to the offered lot will pass to the bidder acknowledged by the auctioneer. The bidder thereupon assumes full risk and responsibility and will pay full purchase price for the said lot.

3. The auctioneer may decide that any original bid is not commensurate with the value of the article offered, or that any advance thereafter is not of sufficient amount, he may reject the same. 4. The auctioneer reserves the right to withdraw any item at any time before the sale of the item. 5. No merchandise will be released before the end of the auction. 6. If the buyer fails to comply with any of the conditions of sale, Neal Auction Company reserves the right to hold such defaulting buyer liable for the purchase price; to cancel the sale, retaining as liquidated damages any payment made by the buyer; resell the property without reserve at public auction or privately on seven days’ notice to the buyer or, take such other actions available by law as deemed necessary or appropriate. If Neal Auction Company resells the property, the original defaulting buyer shall be liable for the payment of any deficiency in the purchase price and all costs and expenses, including warehousing, the expenses of both sales, reasonable attorneys’ fees, commissions, incidental damages and all other charges due hereunder. ABSENTEE/TELEPHONE BIDS 1. All absentee bids and/or telephone bids must be in our gallery by 5 P.M. CST the Thursday prior to the auction. 2. All arrangements for bidding should be made as early as possible. Telephone bidding will be taken at the discretion of the Neal Auction Company. Each item must have a minimum low estimate of $500. 3. We assume no responsibility for failure to execute bids for any reason whatsoever. 4. We reserve the right to require that advance bids be accompanied by a 25% deposit. PAYMENT 1. The successful bidder agrees to pay a buyer’s premium in the amount of 22% of the hammer price on each lot up to and including $200,000, plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 2.5% of this 22%. 2. Unless exempt by law, the purchaser will be required to pay Louisiana and local taxes, and, if applicable, any federal luxury or other tax, on the total purchase price. 3. Documentation of tax exemption must be provided upon registration. 4. Payment in full must be made by the successful bidder within ten days of the auction date. Interest charges will apply to invoices paid after this period expires. We reserve the right to require payment in full of the sales price at the moment of the successful bid. 5. VISA, MasterCard, Discover and American Express are accepted for invoices up to $25,000 per customer. LIVE INTERNET BIDDING Live internet bidding is available through Live Auctioneers at a buyer’s premium in the amount of 23% of the hammer price. See TERMS Any customer not accredited by Neal Auction Company must present a letter of reference from their bank or other suitable source acceptable to Neal Auction Company. Neal Auction Company requests that the merchandise be held on premises until the check clears or money can be wired into the Neal Auction Company account. SHIPPING We will assist buyers in making shipping arrangements by furnishing information on packers and shippers. Handling of purchased lots by us is at the risk of the purchaser. Final shipping arrangements and agreements are strictly between the buyer and the shipper. STORAGE We will be glad to store certain items purchased at auction until transportation is arranged. Unless other arrangements are made and confirmed in writing, all items must be removed within one week of the auction. On the first business day following that time period, merchandise remaining in the gallery will be turned over to a storage facility. The owner will be responsible for handling and storage costs. Handling costs will be a minimum of $50. Storage rates will carry a minimum charge of $15 per month. For a list of our storage charges by item category, please ask our customer service personnel at the front desk area. All items handled or stored will be at the purchaser’s risk. Storage charges are billed monthly and must be paid before merchandise is released. We are not liable for any damage to merchandise after the sale. W denotes the lot is illustrated at 239

Auction Results for September 2011 0001-$358 0002-$717 0003-$956 0004-$597 0005-$179 0008-$183 0009-$522 0010-$1599 0011-$418 0012-$179 0013-$427 0014-$298 0016-$836 0017-$1230 0018-$1476 0019-$4780 0020-$836 0021-$615 0023-$4182 0024-$776 0027-$418 0030-$861 0031-$776 0033-$738 0034-$1075 0035-$1195 0038-$1434 0039-$1353 0042-$369 0043-$522 0045-$8365 0046-$2390 0047-$5676 0049-$4182 0050-$1195 0051-$610 0052-$776 0056-$597 0058-$738 0059-$610 0060-$1107 0061-$1075 0063-$358 0064-$1553 0065-$298 0067-$1314 0068-$492 0069-$956 0071-$358 0072-$2562 0073-$836 0074-$1722 0075-$2460 0076-$1220 0078-$4270 0082-$3690 0083-$5676 0084-$1434 0086-$717 0089-$597 0091-$9858 0092-$8663 0093-$717 0094-$597 0095-$4182 0096-$2928 0097-$4182 0099-$717 0100-$418 0101-$21510 0102-$3997 0103-$2151 0106-$1968 0109-$2688 0110-$2151 0111-$1314 0112-$1553 0113-$8066 0114-$956


0115-$956 0117-$3585 0119-$1075 0120-$1912 0121-$1107 0122-$1912 0123-$2390 0126-$2214 0127-$8962 0128-$5676 0130-$14340 0131-$2460 0132-$1195 0133-$2629 0136-$5975 0137-$2706 0138-$1230 0143-$799 0144-$4920 0145-$4305 0146-$8365 0150-$4780 0151-$3585 0154-$2390 0157-$34655 0160-$9560 0161-$5975 0162-$5227 0163-$6457 0164-$6100 0165-$1195 0167-$5377 0177-$1220 0179-$732 0187-$956 0192-$956 0194-$5975 0195-$1075 0196-$671 0197-$1135 0200-$1314 0201-$2390 0203-$676 0204-$478 0205-$478 0206-$956 0210-$239 0211-$184 0213-$358 0214-$246 0216-$549 0217-$4481 0218-$4481 0219-$4481 0220-$976 0221-$2868 0222-$717 0224-$597 0225-$418 0226-$597 0227-$1195 0229-$615 0231-$1015 0232-$717 0235-$836 0236-$597 0237-$615 0239-$836 0240-$776 0241-$615 0242-$717 0244-$597 0245-$298 0246-$153 0247-$597 0248-$246 0250-$1434 0253-$4182 0255-$366

0256-$2748 0258-$984 0260-$3883 0261-$4481 0262-$1708 0263-$597 0264-$1434 0265-$6572 0266-$2688 0267-$956 0268-$1830 0269-$2987 0270-$4270 0271-$4305 0272-$3585 0273-$4481 0274-$3660 0275-$3585 0276-$1195 0277-$4481 0278-$1673 0279-$1792 0280-$18300 0282-$1195 0283-$13145 0284-$1673 0285-$5377 0286-$2806 0287-$7767 0288-$327000 0289-$20315 0290-$836 0294-$615 0295-$1195 0296-$836 0297-$1553 0298-$2987 0299-$3883 0300-$1195 0301-$17925 0304-$2629 0305-$4182 0306-$4780 0307-$1952 0308-$7380 0311-$2629 0312-$597 0313-$4305 0314-$1195 0315-$671 0317-$7767 0318-$1075 0319-$2390 0320-$2440 0321-$1434 0322-$2460 0324-$1830 0325-$8962 0326-$7170 0327-$113525 0328-$956 0329-$369 0330-$956 0333-$1342 0334-$4270 0335-$5795 0336-$6405 0337-$5795 0338-$239 0340-$488 0341-$239 0342-$11950 0344-$1792 0345-$11950 0347-$2987 0348-$7170 0349-$5078 0350-$11950 0351-$3883

0352-$10157 0353-$2509 0354-$7170 0355-$10755 0356-$3690 0357-$5676 0357A-$537 0358-$18300 0359-$366 0360-$2151 0361-$430 0362-$4182 0363-$4780 0364-$4182 0365-$3883 0366-$3172 0367-$3538 0368-$47800 0369-$3382 0370-$5377 0371-$3107 0373-$20315 0374-$11352 0375-$9560 0376-$2270 0379-$1912 0380-$1673 0381-$41825 0383-$8610 0384-$11950 0385-$1792 0386-$478 0386A-$298 0387-$478 0388-$179 0390-$1135 0394-$717 0395-$2390 0396-$3585 0397-$8365 0399-$2688 0400-$430 0401-$2074 0402-$4305 0403-$1195 0405-$10157 0408-$717 0409-$1792 0411-$1195 0412-$1599 0413-$597 0414-$732 0415-$4481 0417-$8365 0418-$1792 0421-$2987 0422-$16730 0423-$1845 0428-$3172 0431-$2152 0433-$1353 0435-$478 0436-$3355 0437-$732 0441-$3286 0443-$4182 0444-$2688 0446-$3050 0448-$3286 0455-$5377 0461-$6572 0462-$2868 0466-$1464 0468-$597 0470-$976 0471-$1195 0473-$717 0475-$1968 0476-$956

0477-$418 0478-$717 0479-$4481 0480-$1912 0481-$956 0482-$358 0483-$179 0484-$239 0485-$537 0486-$149 0487-$836 0488-$298 0490-$537 0492-$149 0493-$179 0494-$478 0495-$358 0496-$1912 0498-$358 0501-$149 0503-$119 0505-$717 0506-$1792 0508-$4481 0509-$179 0511-$1673 0512-$2390 0513-$9760 0515-$1912 0517-$2151 0518-$956 0519-$2629 0520-$1314 0521-$2270 0522-$1195 0523-$2583 0524-$366 0527-$597 0529-$1673 0533-$717 0534-$418 0535-$956 0537-$1792 0538-$836 0539-$3355 0540-$2460 0542-$2318 0543-$597 0545-$488 0547-$7767 0548-$2390 0549-$1673 0550-$717 0551-$1673 0554-$2270 0556-$1845 0557-$1476 0562-$4780 0563-$836 0565-$836 0566-$1314 0567-$732 0568-$1220 0569-$1230 0570-$2031 0571-$358 0572-$366 0573-$836 0578-$3107 0581-$4481 0582-$956 0584-$3690 0585-$2337 0588-$1220 0591-$522 0596-$610 0598-$676 0599-$738 0604-$1195

0607-$274 0608-$657 0609-$307 0611-$956 0612-$1353 0613-$1912 0616-$3107 0619-$2987 0622-$328 0623-$274 0626-$984 0628-$854 0629-$358 0630-$153 0631-$732 0633-$239 0637-$430 0638-$366 0639-$399 0641-$246 0644-$152 0650-$239 0653-$369 0655-$610 0657-$358 0662-$1708 0663-$707 0664-$1314 0665-$478 0666-$239 0667-$1195 0670-$615 0671-$2562 0672-$1195 0673-$1845 0674-$1722 0676-$358 0677-$553 0678-$338 0679-$119 0680-$1098 0682-$1553 0683-$1553 0684-$358 0690-$4305 0692-$1792 0693-$836 0694-$615 0695-$492 0696-$492 0697-$122 0698-$388 0700-$179 0701-$478 0706-$358 0707-$732 0708-$153 0709-$1075 0710-$1673 0711-$276 0712-$119 0714-$119 0716-$149 0717-$179 0719-$276 0723-$268 0724-$537 0726-$213 0728-$358 0729-$297 0730-$2688 0732-$2031 0736-$537 0739-$1553 0740-$1673 0741-$1220 0742-$657 0743-$1830 0744-$537

0747-$1434 0748-$1912 0750-$209 0751-$298 0752-$246 0754-$215 0755-$244 0756-$179 0757-$149 0758-$836 0759-$676 0761-$418 0763-$246 0764-$183 0765-$492 0766-$1230 0768-$956 0769-$836 0770-$6871 0771-$2091 0772-$2748 0773-$2196 0775-$836 0776-$984 0781-$1314 0782-$268 0783-$358 0784-$239 0785-$119 0786-$153 0789-$179 0791-$149 0792-$179 0795-$738 0798-$671 0799-$1434 0800-$5490 0802-$179 0803-$388 0804-$244 0806-$119 0807-$179 0808-$153 0809-$179 0810-$553 0811-$418 0812-$537 0813-$418 0814-$215 0815-$179 0817-$119 0818-$537 0819-$149 0820-$717 0821-$478 0822-$418 0823-$478 0824-$597 0828-$5078 0830-$358 0832-$717 0836-$1792 0838-$1075 0840-$22705 0845-$3660 0846-$2688 0847-$478 0850-$2074 0851-$836 0852-$2390 0853-$956 0854-$3704 0855-$418 0859-$956 0860-$298 0861-$717 0864-$1195 0865-$3704 0867-$1673

0869-$8962 0871-$1314 0872-$1673 0873-$956 0874-$738 0876-$2987 0877-$2270 0878-$615 0880-$298 0881-$369 0882-$507 0884-$179 0885-$358 0887-$183 0888-$179 0889-$430 0890-$149 0891-$305 0893-$1912 0894-$615 0895-$597 0896-$492 0897-$399 0898-$184 0899-$2629 0901-$209 0902-$149 0906-$537 0907-$358 0910-$2151 0911-$5975 0912-$13145 0913-$717 0915-$298 0916-$478 0917-$1342 0918-$149 0920-$153 0921-$2031 0922-$239 0923-$268 0924-$717 0926-$717 0927-$1075 0928-$2509 0929-$1912 0931-$717 0934-$1912 0935-$1434 0936-$1434 0937-$369 0938-$488 0939-$2031 0940-$478 0942-$239 0943-$239 0944-$9560 0945-$2562 0947-$3690 0948-$1476 0950-$244 0954-$179 0955-$1434 0957-$657 0959-$1195 0960-$358 0961-$1830 0962-$1434 0963-$2440 0964-$836 0965-$358 0966-$430 0969-$110 0972-$209 0974-$239 0975-$268 0978-$615 0980-$1195 0982-$836

0984-$4148 0985-$3226 0986-$1553 0988-$5975 0989-$2151 0990-$2390 0994-$956 0995-$1830 0996-$5138 0997-$5258 0998-$366 0999-$366 1000-$1314 1001-$836 1002-$418 1003-$836 1005-$246 1007-$615 1008-$717 1009-$246 1010-$776 1011-$328 1013-$358 1015-$478 1016-$657 1017-$1075 1018-$1075 1021-$298 1023-$488 1024-$358 1026-$537 1027-$179 1028-$358 1029-$1553 1030-$358 1032-$522 1034-$335 1035-$184 1040-$358 1042-$956 1044-$239 1045-$427 1046-$3538 1047-$478 1048-$274 1050-$597 1051-$478 1052-$537 1053-$717 1055-$1464 1056-$1098 1059-$2460 1060-$597 1061-$478 1062-$1708 1063-$597 1064-$369 1065-$2688 1068-$2688 1069-$179 1070-$488 1071-$1586 1072-$610 1075-$956 1078-$597 1082-$584 1084-$1353 1086-$1434 1087-$1220 1089-$1586 1090-$366 1092-$3198 1094-$1792 1097-$239 1098-$246 1101-$119 1103-$597 1104-$215 1105-$276

1107-$492 1108-$298 1109-$369 1110-$209 1112-$91 1113-$246 1114-$239 1115-$246 1116-$246 1118-$1098 1119-$358 1120-$244 1121-$239 1122-$369 1123-$2440 1124-$1912 1126-$597 1127-$488 1128-$358 1129-$2987 1132-$2151 1133-$358 1134-$478 1135-$478 1136-$1314 1137-$732 1138-$488 1139-$1434 1140-$717 1141-$2987 1142-$1434 1144-$836 1145-$836 1147-$366 1148-$122 1149-$149 1150-$1314 1155-$244 1157-$179 1158-$732 1160-$549 1161-$298 1162-$239 1163-$239 1164-$209 1165-$149 1166-$183 1167-$119 1170-$1314 1171-$418 1172-$793 1173-$615 1174-$732 1175-$1107 1176-$3050 1177-$657 1178-$427 1179-$836 1181-$2440 1183-$298 1184-$369 1185-$369 1186-$610 1187-$298 1189-$657 1191-$366 1192-$239 1193-$1135 1194-$956 1195-$597 1196-$239

Neal Auction Company John R. Neal Chairman

Neal Alford President

Katherine Hovas Senior Vice President

Michelle LeBlanc, CAI Vice President



Director of Administration & Finance Michelle LeBlanc, CAI Database Manager/Assistant to Director Jackie Hernandez Client Services Johanna Darilek Database/Administrative Assistant Lisa Weisdorffer

Director of Furniture & Decorative Arts Neal  Alford; Reid Hinshelwood Director of Research Douglas Lewis, Ph.D., F.A.A.R. Director of Consignments, Books & Manuscripts Marc Fagan Director of Paintings, Prints & Photography Rachel Weathers; Thomas Crowther Associate Director of Consignments Reid Hinshelwood Consignments Administrator Michele Carolla Silver & Decorative Arts Katherine Hovas Inventory Coordinator Steven G. Rutledge European Paintings & Decorative Arts Michele Carolla American Paintings & Decorative Arts Amie Strickland Asian Arts Bettine Field Carroll


Jason Leckert

GRAPHICS Art Director Emory Nolan Catalogue Design Carolyn Finnell Photography Jason Leckert Tom Simpson Terry Thibeau

OPERATIONS Director of Operations Charles Lee Operations Staff Sol Carter Charlie Clay Leroy Hubbard Kelvin Gibson Jerry Majors


Sybil Lawson Carolyn Wogan Cammie Mayer Clare Stewart Karolyn Westervelt Cecile Ballard Mimi Abbott


Neal  Alford  #797 Michelle  LeBlanc  #1514 Reid Hinshelwood  #1715

AUCTION SERVICES Director of Business Development Bettine Field Carroll Trust & Estates Advisor Henry G. McCall Senior Appraiser Fine Arts Amanda Mantle Winstead Appraisals Rachel Weathers Marc Fagan Museum Services Douglas Lewis, Ph.D., F.A.A.R.

CATALOGUE CONSULTANTS Paintings and Fine Arts Claudia Kheel Furniture & Decorative Arts Doris Mollenkopf Newcomb Pottery & Decorative Arts Sally Main Silver Carey Mackie-Alsobrook Decorative Arts & Victoriana Ann M. Masson


Neal Auction November 19 & 20, 2011 Important Auction