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Neal Auction

Louisiana Purchase Auction™ November 20 & 21, 2010

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Above: James Augustus McLean (American, 1904-1989) ”Wash Day,” oil on canvas, signed, 40 1/2 in. x 50 1/2 in. Front Cover (detail): Marie Adrien Persac (French/New Orleans, 1823-1873), “Palo Alto Plantation, Ascension Parish,” gouache and collage on paper, 17 in. x 23 in. Back Cover (detail): An Important American Gothic Carved Rosewood Center Table, c. 1845, after a design by Alexander Jackson Davis (1803-1892), NY.


LOUISIANA LOUISIANAPURCHASE PURCHASEAUCTION AUCTION™ October November 6 20&& 7, 21,2007 2010 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: • Property Descended in the Family of Admiral Raphael Semmes, C.S.N. • Property from Ardoyne Plantation, Terrebonne Parish, LA • Property Descended in the Family of Emeranthe Marie Magdeleine Becnel Brou Hermann (1776-1851) • Property from a Collection of African-American Decorative Arts with an Extensive Exhibition History • Property Sold for the Benefit of The Louisiana Landmarks Society • Property from the Estate of Dr. William Locke, New Orleans • Property Sold for the Benefit of The Columbus Museum, Columbus, GA • And Property of Others

EXHIBITION both galleries beginning Monday, November 8, 10 a.m. to 5 p.m. Special Saturday Preview, November 13, 10 a.m. to 5 p.m. Evening Preview Reception, Thursday, November 18, 5 to 8 p.m.

AUCTION SCHEDULE Saturday, November 20, 10 a.m., 4038 Magazine Street Sunday, November 21, 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

Admiral Raphael Semmes House 804 Government Street Mobile, Alabama

This handsome side hall townhouse, built in 1858, was purchased in 1871 by the citizens of Mobile and presented to Admiral Raphael Semmes, C.S.N., in recognition of his services in the War Between the States. Semmes enjoyed legendary success as a blockade runner and privateer, notably as captain of CSS Alabama. The Admiral Semmes House is now listed on the National Register of Historic Places.


Ardoyne Plantation Terrebonne Parish, Louisiana

Built in 1897 by John Dalton Shaffer (1858-1927), Ardoyne remains in the family today. The Shaffer family has lived on Little Bayou Black for seven generations. Ardoyne is listed on the National Register of Historic Places.

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Session One

Saturday, November 20, 11 am 4038 Magazine Street

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4. An American Late Federal Carved Rosewood Canterbury, c. 1815-1820, probably Philadelphia, with turned finialed supports, four shaped divided sections; the base with long drawer, turned legs, brass cup casters, height 20 1/2 in., width 17 3/4 in., depth 14 in. 1


$800/1200 5. A Pair of Edwardian Rosewood and Marquetry Hanging Shelves, late 19th c., each shaped crest with beribboned flower basket inlay, three serpentine shelves connected by finely turned spindles, mirrored back, shaped base with floral swag, height 31 in., width 14 1/2 in., depth 5 in.


$1000/1500 1. An Antique Louis XVI-Style Carved Fruitwood Bergère and Ottoman, 19th c., barrel back, padded arms, scrolled terminals, molded seat rail, fluted tapered legs with rosettes; the ottoman with pegged construction.


2. An American Classical Carved Mahogany Drop-Leaf Dining Table, early 19th c., Boston, apron fitted with a single drawer, trestle base with tapered columnar supports and cylindrical stretcher, volute scroll feet, casters, height 28 1/2 in., extended length 51 1/2 in., depth 42 in. $800/1200

$500/700 W 3. A Fine Pair of Antique American

Carved Mahogany Footstools, mid-19th c., rectangular seats, acanthus carved cabriole legs ending in finely carved ball and claw feet, height 16 1/2 in., width 24 in., depth 18 1/2 in. $800/1200 5 (1 of a pair)


6. An Edwardian PaintDecorated Satinwood Three Panel Folding Screen, c. 1910, each panel inset with glazing and fabric, height 72 1/8 in., width 54 1/2 in. $800/1200

7. A George IIIStyle PaintDecorated Cupboard in the Form of an Architectural Model for a London Townhouse, triangular pediment with dentil molding, blocked frieze, Roman numerals, fluted pilasters flanking the doors in ashlar block motif, four windows and functional door with demilune transom, shelf interior; lower case of two short and two long drawers, blocked plinth pediment, height 83 in., width 46 in., depth 18 1/2 in. $1200/1800



8 10 8. A Restauration Mahogany Table de Nuit, early 19th c., the rectangular noir marble top above three drawers raised on square supports joined by a stretcher shelf, bun feet, height 34 in., width 17 3/4 in., depth 13 1/2 in.

9. A Louis XV Carved Fruitwood Petite Armoire, 18th c., associated cove-molded crest, paneled frieze with star cartouche, chamfered molded stiles, paneled door, on later cabriole legs, height 71 in., width 41 in., depth 20 in.



10. A Louis XVI Crème Peinte Chaise Longue, late 18th/early 19th c., molded back support, padded arms terminating in scrolls, molded frame with rosette blocks, tapered fluted legs, height 41 1/3 in., length 74 in., depth 33 1/4 in. $1500/2500

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11. A Louis XVI-Style Gilt Bronze-Mounted Mahogany Console Desserte, 19th c., Paris, demilune variegated white marble top, conforming case with frieze drawers over paneled cabinet, sides with mirror-backed galleried shelves, fluted tapering legs, height 36 in., width 95 in., depth 23 in. $3000/5000


12. Carle Vernet (French, 1758-1836), a set of four hunting scenes, each charcoal and gouache on paper, each image 15 1/2 in. x 20 1/2 in., matted and framed alike. $1500/2500 Provenance: Sotheby’s, July 8, 1999, as lot 294. W 13. Vettore

12 (2 of 4)

Zanetti-Zilla (Italian, 1864-1946), “Rialto Bridge, Venice”, oil on canvas affixed to masonite, signed lower right, 14 in. x 20 in., in a carved giltwood frame, mounted in open shadow box. $500/750 W 14. Vettore Zanetti-Zita

(Italian, 1864-1946), “Piazzo San Marco, Venice”, oil on canvas affixed to masonite, signed lower right, 14 1/8 in. x 18 5/8 in., in a carved giltwood frame, mounted in open shadow box. $500/750



15. J. van Soest (German, 19th c.), pair of portraits of “Catharina Larive Cohu” and “Franciscus Cohu”, both pastels on paper, former signed and dated “1838” at mid-left, each sight 13 in. x 10 1/2 in., each with descriptive labels in German en verso, in matching cove-molded, carved, gessoed, and giltwood frames. $1200/1800

16. H. Hartley (English, 19th c.), “The Thames Near Windsor” and “Summer Showers - Windsor”, oils on canvas, each signed “H. Hartley” lower left, each titled en verso of canvas and with “Windsor and Newton” canvas stamps, each 12 in. x 16 1/4 in., in later giltwood frames.

W 18. French School, 19th

c., “Portrait of the Empress Josephine”, miniature watercolor on ivory, signed “Tanny” with a “Galerie Hautecoeur, Paris” label en verso of liner, 2 3/4 in. x 2 3/4 in., in fine period easel frame. $300/500


W 19. Joseph Karl Stieler

(German, 1781-1858), “King Ludwig II of Bavaria”, miniature watercolor on ivory, signed mid right, 3 1/4 in. x 2 1/2 in., in the original fine mother of pearl and scrollwork filigree bronze frame.

17. Jean-Baptiste Isabey (French, 1767-1855), “Napoléon Bonaparte, Premier Consul de la Republique Française”, watercolor miniature on ivory, signed and dated “1801” lower left, signed, dated and inscribed en verso, 4 1/4 in. x 3 1/4 in., in a period frame with fine enamel reverse.


$1000/1500 Note: Isabey left his hometown of Nancy to work as a miniaturist in Paris. An accomplished and promising artist, he eventually entered the studio of the great NeoClassical painter Jacques-Louis David (French, 1748-1825). It is testament to Isabey’s talent that a painter of David’s stature and stylistic approach would accept a miniaturist as a student. Isabey was soon one of the favored painters of the Court of Louis XVI, creating exquisitely rendered miniature portraits of the royal family and the various members of the French and Austrian aristocracy. He became so enmeshed in Court life that not only did he supply drawing lessons to the ladies of the court, he also frequently designed costumes and arranged festivities.


Note: Stieler was from a family of engravers and received his early training from his father. He later studied in Wurzburg and Vienna before entering the atelier of Francois Gérard (French, 1770-1830) in Paris; it was during his time in France that he began to develop his distinctive, emotionally intense style of portraiture. Stieler concentrated on the features of the sitter, often leaving backgrounds and other superfluous elements dark or intentionally indistinguishable. This technique causes the viewer to focus instantly on the face and creates a sense of vibrancy and immediacy; this is true of both his miniature and fullscale work. In 1820, Stieler was named the Official Painter of the Austrian Court. Reference: Bénézit. Dictionnaire des Peintres, Librairie Grund, 1976, vol. IX p. 832.

W 20. Continental School, 19th

c., “Woman with a Guitar”, a fine miniature watercolor on ivory, faintly signed “...rezier” lower left, 3 3/4 in. x 2 7/8 in., in a wooden frame with ormolu liner.

Despite his prominent position in the Royal Court, Isabey was able to remain publicly politically neutral. Though he continued a Royalist at heart, he soon received commissions from the men and women associated with the republic of Napoleon and, as seen in the present lot, Napoleon himself.

$400/600 W 21. English School, 19th c.,

“Lieutenant Henry Rutherford, Royal Navy”, miniature watercolor on ivory, initialed “T.J.” lower right, old handwritten inscription en verso: “Henry Rutherford, Lieutenant, R.N., of the last century, who, in command of a gun-boat, “went to the bottom”, by hoisting too much the sails, while giving chase to the enemy”, sight 2 1/4 in. x 1 3/4 in., framed.

Isabey regularly exhibited at the Paris Salon. He was made a commander of the Legion of Honor, and supplied with a life pension, by Napoleon III. Reference: Benezit. Dictionnaire des Peintres, Librairie Grund, 1976, vol. V pp. 730-732.


$200/300 W denotes the lot is illustrated at




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22. A Royal Vienna Polychrome and Gilt Porcelain Charger, late 19th c., reserved with a hand-painted scene of women in worship of Dionysus in a Classical setting, inscribed and with underglaze beehive mark en verso, diameter 14 in. $1200/1800 W 23. A Group of Eight American Pressed Brass

Curtain Tie Backs, mid-19th c., acorn and oak leaf design, length 9 in., width 3 1/4 in. $300/500

25. An American Classical Mahogany and Brass-Mounted Games Table, early 19th c., Boston, foldover top with reeded edge, conforming frieze, the turned support centered by a ribbed spherule, the molded saber legs mounted with gilt brass rosettes, on brass paw feet; original condition and finish, height 27 3/4 in., width 36 in., depth 17 3/4 in. $1500/2500 26. An American Federal Inlaid Mahogany Collector’s Cabinet, early 19th c., with a pair of figured paneled doors enclosing sixteen trays with circular compartments and ivory pulls, inlaid shaped base, “French” feet, height 16 1/2 in., width 17 1/2 in., depth 9 1/2 in. $800/1200

24. An Antique Ebonized, Mother-of-Pearl and Brass Nécessaire de Toilette, mid-19th c., fitted with gilt metal and cut glass bottles and various accessories, the mirror framed by red satin drapery, height 6 in., length 13 in., width 9 3/4 in. $700/900


27. A New Orleans Carved Mahogany Campeche Chair, mid-20th c., Kohlmaier & Kohlmaier, signed and dated on underside of seat rail, of generous proportions, large scroll and lobed crest, continuous back and seat, scroll arms with baluster supports, turned stretchers, leather seat with nailhead trim. $2500/3500 Provenance: Acquired by William Simmons from Kohlmaier & Kohlmaier.



29. A Pair of Chinese Export Pronk Porcelain “La Dame Au Parasol” Plates, 18th c., the wells enameled in the Imari palette with Cornelis Pronk’s famous design of a lady standing before waterbirds as her attendant shades her with a parasol, the rims banded with alternating figural and avian cartouches on an iron red cell-pattern ground, the exteriors with seven insects in underglaze blue, diameter 9 1/8 in.

Note: Best known for exquisitely crafted furniture after Georgian designs, the shop of Ruppert Kohlmaier, Sr. (1906-2002) and Ruppert Kohlmaier, Jr. also made pieces rooted in objects from Louisiana, often using figured cypress veneers. The Campeche chair offered here is based on an example in a New Orleans private collection. When the piece was brought to the Kohlmaier studio for conservation, the Kohlmaiers were so impressed with the design and comfort of the chair that they asked to use it as a prototype.


$2000/3000 Note: The “La Dame au Parasol” pattern was one of four designs commissioned by the Dutch East India Company from the Dutch artist Cornelis Pronk (1691-1759), who was sent to Canton to design services for Export. The original “La Dame au Parasol” watercolor by Pronk, executed in 1734, is rendered on Chinese Export porcelain in the blue and white, Imari, and famille-rose palettes.

Kohlmaier Campeche chairs are usually signed on the frame, often underneath the upholstery. From 1954, when Ruppert, Jr. joined the firm, until Ruppert, Sr.’s death in 2002, pieces were signed “Made by Ruppert Kohlmaier Sr./Jr.” in German. Neal Auction Company would like to thank Ruppert Kohlmaier, Jr. for his assistance with this catalogue entry.

28. A New Orleans Carved Mahogany Campeche Chair, mid-20th c., Kohlmaier and Kohlmaier, signed and dated on the underside of the seat rail, en suite with the preceding lot.

30. A Chinese Export Famille Rose Decorated Blue and White Porcelain Covered Tureen and Undertray, 18th/19th c., the tureen with quadrilobed oval body decorated with shaped famille rose floral and figural panels on blue and white diaper ground with iron red and gilt highlights, domed lobed cover with pierced crown finial, the undertray en suite, tureen interior, tureen base and undertray base with peony spray, tureen height 6 1/4 in., width 10 in., undertray height 1 1/2 in., width 11 in., depth 9 7/8 in.



References: Schmalz and Mitchell, The Art of the Craftsman: Ruppert Kohlmaier, Sr. A Retrospective Exhibition, p. 27.


Provenance: Acquired by William Simmons from Kohlmaier & Kohlmaier. W denotes the lot is illustrated at


32. A Regency Calamanderwood Work Table, early 19th c., the drop-leaf top with diamond inlay, one drawer over a silk barrelshaped work basket, the chamfered stem with leafcarved base, lobed collar, incurvate plinth, scrolled feet, casters, height 28 3/8 in., width 18 1/2 in., depth 18 1/8 in. $1000/1500




31. A Chinese Export Famille Rose Porcelain Charger, 18th c., the circular well finely enameled with a central medallion enclosing floral sprays, the cavetto and scalloped rim with peony sprays within a shaped diaper band, the exterior with stylized lingzhi sprays, height 1 7/8 in., diameter 13 3/8 in. $500/700 Provenance: Acquired Manheim Gallery, New Orleans, December 1987.


33. A William IV Mahogany Tea Poy, 19th c., chamfered lid opening to fitted interior with tin canisters, faceted standard, incurvate plinth, ball feet, casters, height 29 in., width 18 in., depth 12 in. $1200/1800 34. A Pair of Regency Carved Mahogany Armchairs, early 19th c., each with incised foliate crest rail, reeded slat, scrolled reeded arms, trapezoidal slip seat, reeded rail, on ring-turned tapered legs. $600/900





37. An American Classical Gilt Bronze Three Piece Argand Lamp Garniture, early 19th c., Cornelius & Co., comprising a double branch and pair of single branch lamps, each with an urn-form font surmounted by a bud finial, foliate brackets, the standard modeled with gothic arches, stepped plinth raised on round spreading feet, etched and cut glass shades, prism hung, double branch height 20 in., width 19 1/2 in. $4000/6000 Note: A nearly identical example is illustrated in “The Manufacture of Argand Lamps in Philadelphia”, R. Curt Chinnici, Magazine Antiques, February 2002.


35. A Set of Regency Mahogany Quartetto Tables, early 19th c., each figured top with molded edge, bamboo-turned uprights, incurvate rear stretchers, trestle feet, largest height 27 1/4 in., width 19 1/2 in., depth 13 1/2 in. $1000/1500

36. A Fine West Indies Carved Tropical Hardwood Poster Bed, early 19th c., Barbados or Jamaica, the massive posts with spiral and ring turnings, fluted balusters ending in blocked bases, turned disc feet, the headboard surmounted by a palmette carved crest, conforming plain rails, height 91 1/2 in., length 76 in., width 53 5/8 in. $2000/3000 Note: The distinctive stylized palmette headboard and spiral and reeded urn posts on this bed are very similar to those on a Jamaican mahogany bed illustrated in Connors, Caribbean Elegance, p. 115, fig 98.

38. A Charles X Rosewood and Marquetry Coffer, c. 1830, height 7 1/2 in., width 22 1/4 in., depth 14 in., with key. $700/1000 Provenance: Descended in the Family of Marie Emeranthe Becnel Brou Hermann (1776-1851).

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39. A Continental Birdseye Maple and Penwork Workbox, c. 1800, probably Spa, Belgium, the top and sides with scenes of buildings in landscapes, retains key, height 3 1/2 in., width 10 in., depth 6 3/4 in. $1500/2500 39



40. A Pair of English Bronze and Crystal Figural Girandoles, c. 1835, labeled by retailer Stoutenburg & Cox, New York on candlecups, each consisting of a seated figure in Ottoman costume with arms raised to support candlecups and prism-hung cut crystal bobêches, seated on unusual, thick etched glass bases with cut stars, height 13 1/4 in. $1500/2500 41. An Antique Sheffield Plate Hot Water Urn, 19th c., urn-form, tapered lid with pineapple finial, foliate loop handles, bead and gadroon decoration, base with reticulated skirt on anthemion scroll feet, height 20 in. $1000/1500 42. A Fine American Chippendale Carved Cherrywood Tea Table, c. 1770, circular tilt top with molded edge, birdcage with balusterturned supports, fluted standard on cabriole legs with floral carvings, elongated ball and claw feet, height 27 in., diameter 31 in. $12000/18000




43. An Important American Federal Inlaid, Carved Mahogany and Redbay Sofa, early 19th c., Charleston, the reeded and reticulated crest rail terminating in foliate moldings, tall arms with palmette-carved baluster supports, seat rail with rosette blocks, reeded legs, casters, height 37 in., width 83 in., depth 30 in.

44. A Fine American Classical Carved Mahogany Multi-Form Table, early 19th c., Philadelphia, having a foldover swivel top, bolection molded and gadrooned skirt; distinctive acanthus carved and scrolled supports terminating in bosses, incurvate plinth, with scrolled feet, casters, height 29 1/4 in., width 48 in., depth 24 in.

$8000/12000 Note: Several of the finely carved embellishments on this sofa relate to those on furniture documented in Charleston. The applied roundels at the reeded stile intersections on the crestrail are similar to those on mahogany chairs descended in the Kinloch or Middleton families of Charleston. (1) The reeded collars on the legs have lobed ends, drill marks and rope twist moldings similar to those seen on bedposts recorded in MESDA Research Files from three different Charleston carvers (MRF 29,250; 13,804; 11,709) The sophistication of this sofa is further enhanced by a unity of motifs: the fine foliate inlay placed behind the arm support on the carved crestrail end. The documentation of Redbay (Persea borbonia) in American furniture is exceedingly rare perhaps due to its superficial resemblance to mahogany. Redbay grows along the Southern Atlantic and Gulf coasts and was used in Charleston furniture mostly as a secondary wood and more rarely as a primary wood. A c. 1740 Charleston redbay and cypress side table conserved by the Yale University Art Gallery (acc. 19302586) is a rare documented example of the use of redbay primary wood. (3) Contemporary redbay trees are threatened with extinction from an infestation of the Asian ambrosia beetle, discovered in coastal Georgia from 2002. Reference: (1) Rauschenberg and Bivens. The Furniture of Charleston 1680-1820, Vol II, Neoclassical Furniture, p. 773, fig. Nch-17a. (2) Ibid, pp. 792-793, fig. NBS 4-a, NBS 4c NBS 4d; p. 825, fig. NB 11c. (3) Ibid, Vol. I, pp. 256-257.

$1000/1500 44


45. An Exceptionally Rare Pair of Flight, Barr and Barr Oval Porcelain Bird Plaques, c. 1813-1820, one depicting a roseringed parakeet, the other a bird of prey, each finely painted in a naturalistic landscape, the underglaze red circular mark reads “Flight, Barr & Barr Proprietors of the Royal Porcelain Works, Worcester, Established 1751”, in matching giltwood paneled frames. $2000/3000 W denotes the lot is illustrated at


48. A Chinese Famille Rose Porcelain Vase, early 20th c., wide cylindrical form raised on a tall foot, with sloped shoulders, columnar neck and bulbous mouth, the body finely enameled with a continuous outdoor figural scene, the neck with auspicious emblems on a dense yellow ground, recessed base with apocryphal Qianlong (17361795) four-character seal mark in overglaze blue, height 15 3/4 in. $800/1200 W 49. A Pair of Chinese

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Famille Rose Porcelain Bowls, early 20th c., interiors enameled with a central roundel enclosing a crane on a ruyi ground, surrounded by a large band of floral sprays on a lime-green ground, recessed bases with four-character Hongxian Yu Zhi marks, height 2 1/2 in., diameter 5 1/8 in., presented on stands, Note: one with restorations; together with two celadon ground bird-and-butterfly plates, diameters 7 1/4 in. Note: one with restorations. $400/600 50. An American Classical Cast Iron Bootscraper, early 19th c., Baltimore, the wings of the opposing griffins forming a rectangular blade, atop a white marble plinth, original condition, height 20 3/4 in., width 12 5/8 in., depth 6 5/8 in. $400/600

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46. A Chinese “Dayazhai” Turquoise Ground Porcelain Vase, early 20th c., bulbous rectangular form raised on four round feet, decorated in the Empress Dowager style with birds, wisteria and peony on a turquoise ground, one facet with the Dayazhai (Abode of Great Refinement) mark inscribed beside the Tian di yi jia chu (Spring in Heaven and Earth, One Family) seal mark in iron-red, the pierced base with the Yong qing chang chun (Eternal Prosperity and Enduring Spring) mark in iron-red, height 12 in., width 6 1/2 in. $1000/1500


47. A Chinese “Da Ji” Porcelain Wall Plaque, 19th/early 20th c., flattened double gourd form supported on a simulated cafe-au-lait “wood” stand and tied at the waist with a long flowing turquoise ribbon, the center of each bulb with a medallion enclosing a single character “da “ and “ji” (great happiness) in gilt, encircled by blue spotted bats and reserved on a gilt trellis-diaper and coral-red ground, the top surmounted by a large gilt bat, mounted in a wood frame, porcelain height 14 1/4 in., overall 17 1/2 in. x 13 1/2 in. $1500/2500

Note: This bootscraper is of a design seen on the exteriors of many important Baltimore historic homes of the 19th century; most notably the Enoch Pratt House, 201 West Monument Street. W 51. A Staffordshire Pottery

Transfer-Printed Lafayette Commemorative Plate, early 19th c., the deep blue glaze reserve depicting a turreted castle identified by the title “La Orange The Residence of the Marquis Lafayette”, impressed E. Wood & Sons Burslem Warranted, diameter 10 1/8 in. $200/400

52. A Continental Grand Tour Engraved Brass Obelisk from the Place de la Concorde, mid-19th c., on black slate base with original thermometer, height 17 1/2 in. $800/1200 53. A Good Continental Patinated Bronze Vase in the Neoclassical Taste, early 20th c., with a high relief frieze of satyrs and putti, decorative handles and moldings, on a circular black marble base, height 14 1/2 in., width 15 in. $1200/1800 53

54. A Pair of Louis Philippe Doré Bronze Ewers, anthropomorphic caryatid, overall decoration of scrolled foliage and lozenges, circular base, height 14 in. $1000/1500




55. An Italian .800 Silver Coffee and Tea Service, Vallè Mario Snc di Vallè Carlo e Alberto, Milan, ret. F.lli Peruzzi, Florence, comprised of a coffee pot, teapot, covered sugar and creamer, ornate long necked melon forms raised on scroll supports, decorated with scrolls, foliage and flowers, coffee pot height 10 in., combined weight 109.30 troy ozs. $1000/1500


56. An Italian Silverplate Fish Platter and Cover, Teghini, Florence, elongated oval platter, the conforming cover with cast fruit and floral removable handle, height 4 1/2 in., length 30 in., width 14 1/4 in. $600/900

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57. A Pair of Continental Silver Three-Light Candelabra, hallmarks rubbed, with foliate bobêches and stems, set on shaped bases, height 18 in., width 14 1/2 in. $1200/1800 W 58. 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 W 59. An Antique English Silverplate Venison Dome, mid-19th c.,

strapwork handle, Renaissance Revival chasing and beaded border, height 11 in., length 18 in. $300/500 60. A Fine English Sterling Silver Centerpiece, Alexander Macrae, London, 1860, naturalistically modeled in the form of calla lilies and foliage on a rockwork base, height 17 1/2 in., weight 41.45 troy ozs. $3000/5000 61. A Pair of Decorative Turned Hardwood and Silverplate StagMounted Wine Buckets, circular rims with removable liners, mounted with stag handles, height 10 1/4 in. $1000/2000



62. An Antique English Silverplate Centerpiece in the Neo-Grec Taste, mid-19th c., the oval frame with cast swan finials atop four paw foot columnar supports, the lobed base on compressed hexagonal feet, with conforming wheel-cut crystal bowl, height 10 in., length 12 3/4 in., width 8 5/8 in. $1000/1500

63. An American Federal Blown and Etched Glass and Patinated Bronze Hall Lantern, early 19th c., the foliage and flower decorated shade resting in a foliate frame with trefoil projections, clear glass smoke bell with chains, height of shade 14 1/2 in., diameter 14 in. $1500/2500 64. A Good Pair of American Gilt Lacquered Bronze Hall Lanterns, mid19th c., the corona with masques in profile, tripartite bracketed cage form with flared scalloped smoke bell suspended above the Neo-Grec etched and cut glass shade, height 55 1/2 in., diameter 22 in. $1500/2500 63




65. A Pair of French Gilt and Patinated Bronze Candelabra, 19th c., each in the form of a putto with upraised arms issuing two scrolled acanthus candle arms, the whole atop circular marble pedestal, square plinth, height 24 in.

66. A Fine Regency Patinated Bronze Argand Lamp, early 19th c., urn-shaped font with foliate scroll handles, foliate arms, the lotus leaf cistern raised aloft by dolphins, triangular pedestal mounted by ram’s heads, and supported by sphinxes, on a stepped plinth, etched and cut glass shades, height 24 1/2 in., width 22 in., depth 9 in. $1200/1800


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67. A Napoleon III Egyptian Revival Slate and Bronze-Mounted Three-Piece Clock Garniture, 19th c., the clock with striking gong movement marked “Marti, Paris”, porcelain dial with visible escapement, flanked by caryatids; the case and accompanying obelisks incised with hieroglyphics and Egyptian symbology, height of clock 13 in., width 15 in., depth 7 1/2 in., height of obelisks 19 1/2 in.

68. A Napoleon III Gilt Bronze and White Marble Three Piece Clock Garniture, late 19th c., architectonic case with eagle finial, mounted with swags, drapery and flowering urns, the conforming five-light candelabra with scrolled arms, on tapering standard, clock height 23 in., width 16 in., depth 4 3/4 in. $1000/2000 W 69. A Parian Figure of Lady

Godiva, 1870, inscribed “R. Monti, 1870” and with copyright mark at back of base, height 22 1/2 in., width 7 in., depth 7 in. $400/600



70. An American Classical Carved Giltwood Mirror, 19th c., oval mirror plate, the surround surmounted by cornucopiae issuing fruit, retaining original gilt surface, height 41 in., width 32 in. $1500/2500 71. A Fine Regency Carved Giltwood Overmantel Mirror, early 19th c., projecting cornice with spherule pendants and blocked corners, elaborate frieze with scrollwork and dolphins flanking a shell, original tripartite mirror plates, engaged spiral columns, height 35 1/2 in., width 53 1/4 in. $1500/2500






72. An English Cut Glass Hurricane Shade, mid-19th c., central lozenge and star cut band, the body cut with vertical rows of stars, height 21 3/4 in., diameter 8 1/2 in.

74. An Important American Rococo Carved Rosewood Half Tester Bed, mid-19th c., New Orleans, related to the bed at Lansdowne in Natchez, MS, purchased from Prudent Mallard; having a serpentine tester with beaded molding and finials, tapered cluster column posts, foliate-carved scalloped paneled headboard with ripple molding; highly carved foliate and flower-carved scalloped rails, arched footboard with rounded ribbon-carved corners, carved and fluted low posts fitted with mosquito bars, height 125 in., length 86 in., interior width 68 1/2 in.


$35000/50000 Provenance: Descended in the Villere-Clark-Atkinson family of New Orleans.

73. An American or English Etched Glass Hurricane Shade, 19th c., the body with a flower, leaf and berry design, height 20 1/4 in., diameter 8 in. $700/1000

Note: The distinctive tester, urn-carved crest, cluster posts, paneled headboard, and serpentine rails of this bed relate closely to the well-known rosewood bed from purveyor Prudent Mallard (Sevres/New Orleans 1809-1879) at Lansdowne in Natchez, Mississippi, and to a number of New Orleans beds offered in these rooms including a bed from a White Castle, Louisiana Plantation sold as lot 294, October 11, 2008. The carved foot rail on this bed departs from the Lansdowne model with continuous incurvate form with mosquito net bars concealed in elaborate melon and fluted posts. The sophisticated carved strapwork details on the foot rail are a foray into the Renaissance Revival style, soon to eclipse Rococo fashion in the mid-19th century. Reference: The Lansdowne bed is illustrated in Otto, American Furniture of the 19th Century, pl. 289.

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75. An American Rococo Carved Rosewood and Marble Top Duchesse, mid-19th c., probably New Orleans, carved scrolled supports centering a cartouche shaped mirror, serpentine grey veined white marble top, large fitted drawer, doublescrolled legs, stretchers centering urn finial, height 73 in., width 45 in., depth 23 in. $6000/8000 Provenance: Descended in the Villere-Clark-Atkinson family of New Orleans. Note: The base of this table is identical to that on a rosewood duchesse purchased by Miss Ima Hogg from Kane’s Antiques, New Orleans, now in the Bayou Bend Collection, Museum of Fine Arts, Houston, Warren, p. 148, fig. F240.



76. An American Rococo Carved Rosewood Armoire, mid-19th c., New Orleans, birdseye maple fitted interior, foliate carved crest with a central cabochon, turned and lobed finials, finely molded paneled doors, plinth drawer, height 108 1/2 in., width 65 3/8 in., depth 23 3/4 in. $8000/12000 Provenance: Descended in the Villere-ClarkAtkinson family of New Orleans. Note: Suites of bedroom furniture linked to the Lansdowne examples and the shop of Prudent Mallard, including the suite offered here, are often assembled in a complementary arrangement rather than manufactured with absolutely homogenous motifs, as seen more often in American suites later in the 19th-century. Assembled suites related to the lots offered here include furniture at Lansdowne itself, a suite (bed, duchesse, and single door armoire) descended in a New Orleans family with an 1874 receipt from Prudent Mallard; a suite (bed, armoire, dresser, washstand) historically associated with 133 4th Street, New Orleans; and a bed and armoire from a New Orleans collector. Reference: Neal Auction Company lots 306-308, September 30, 2006; Neal Auction Company lots 894-896, October 2008. Neal Auction Company lots 381-382, April 2009


77. A Pair of American Rococo Carved Rosewood Bedside Commodes, mid-19th c., probably New Orleans, each with ogee frieze drawer over door with shaped panel, plain plinth, reeded feet, height 31 1/2 in., width 22 in., depth 15 in. $2500/3500 Provenance: Descended in the Villere-Clark-Atkinson Family of New Orleans.


80. An American Late Classical Mahogany Extension Dining Table, c. 1830-1840, the cluster column base on quadripartite scroll and turned supports, with six original leaves, height 29 in., closed length 47 1/2 in., width 40 in., each leaf width 16 1/2 in.






78. An American Gothic Carved Walnut Side Chair, c. 1840, New York, oak leaf finials on reticulated arched back, molded stiles, scroll brackets, bowed seat, turned legs, casters. $500/700 79. An American Classical Carved Mahogany Side Chair, c. 1815, New York, tablet crest rail, medial rail carved with cornucopiae, scroll stiles continuous to trapezoidal seat, saber legs. $700/900

81. An American Classical Carved Mahogany Tilt-Top Center Table, early 19th c., Philadelphia, circular top, tapering stem with faceted collar over incurvate triangular plinth and foliate paw feet, casters, height 30 in., diameter 40 1/2 in.


82. A Fine American Carved Rosewood Sofa Table, mid-19th c., bearing partial label for Alexander Roux, New York, molded top with drop leaves, a pair of frieze drawers, turned and blocked legs connected by stretchers, height 29 in., open width 52 1/2 in., depth 26 in. $1500/2000

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84. An American Federal Inlaid Mahogany Bowfront Sideboard, early 19th c., New York, shaped top above a long drawer and a pair of doors flanked by shell-inlaid doors; square tapered cuffed legs, height 39 1/2 in., width 73 in., depth 25 in. $3000/5000 83


83. An American Federal Mahogany Bookcase, c. 1830, cove molded cornice above a pair of glazed doors enclosing adjustable shelves, lower case of three short over two long drawers, shaped bracket feet, height 97 in., width 50 1/2 in., depth 17 in. $1500/2500

85. A Pair of American Classical Brass-Inlaid and Carved Mahogany Games Tables, c. 1820-1825, Mid-Atlantic, one inscribed “Made by James White around 1822” (listed 1823-24 at 124 South Front Street, Philadelphia), molded foldover tops with canted corners, the conforming skirts with applied lyres, on acanthus-carved stem, oval plinth on molded saber legs ending in brass paw feet, casters, height 28 1/2 in., width 34 1/2 in., depth 17 1/2 in. $3000/5000


86. An American Rococo Carved Mahogany Lady’s Desk, mid-19th c., attributed to Thomas Brooks, Brooklyn, NY, sarcophagus top superstructure with cartouche mirrored door opening to birdseye maple interior with shelves, canted stiles with floral scrolls; lower case with inset tooled leather writing surface, kneehole configuration of drawers, cabriole legs, original state throughout, height 66 3/4 in., width 39 1/2 in., depth 22 in.



$1500/2500 W 87. An

American Late Classical Rosewood Footstool, early 19th c., the rectangular box form on bracket feet, retains original brass casters, height 15 in., width 22 in., depth 18 1/2 in. $400/600


88. An American Late Federal Walnut Tall Chest, early 19th c., the rectangular top with blocked corners, reeded frieze, four short drawers over four graduated drawers, flanked by ring-turned split columnar stiles, scalloped moldings, turned legs; yellow pine secondary wood, height 51 1/2 in., width 37 in., depth 18 1/2 in.

89. A Rare American Rococo Carved and Laminated Rosewood Sofa, mid-19th c., attributed to J.H. Belter, New York, the serpentine crest rail carved with grapevines and “C” and “S” scrolls, rose-carved arms, the seat rail with floral clusters and trailing vines, cabriole legs, scroll toes, casters, height 40 in., width 74 3/4 in., depth 27 1/2 in.


$4000/6000 W denotes the lot is illustrated at


91. An Important American Gothic Carved Rosewood Center Table, c. 1845, after a design by Alexander Jackson Davis (1803-1892), New York, original hexagonal white marble top, conforming skirt with ripple molding and acorn pendants, cluster supports with foliate collars, shaped plinth with trefoil terminals, casters, height 31 in., diameter 43 in. $25000/35000 Note: Alexander Jackson Downing’s illustration “Drawing Room at Kenwood, Gothic Style” appears as figure 179 in his influential 1850 The Architecture of Country Houses, and provides important documentation for Alexander Jackson Davis’ (18031892) 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. In 1844 Rathbone wrote Davis, “I am quite anxious you should come; for I want you should help us with the Chairs and Table...”


Tables closely 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 Fizgerald. Three Centuries of American Furniture, p. 211, fig. x-4; and a table sold at Christie’s, New York, as lot 530, January 16, 1998. The unity of Gothic design and variation of detail among the examples listed above demonstrate the high ambitions of the cabinetmaker. The restraint of ornament and fine craftsmanship in this group also indicate a New York maker with French cabinetmaking expertise such as Alexander Roux (active 18371881) or Charles Baudouine (active 1829-1855).


90. An American Classical Carved Mahogany Grecian Sofa, early 19th c., Boston, molded crest rail, “S” scroll head with anthemion terminal, “C” scroll foot, bolectionmolded seat rail, melon feet, brass cuffs, casters, height 34 in., width 72 in., depth 24 in. $1500/2500

Alexander Jackson Downing’s illustration “Drawing Room at Kenwood, Gothic Style”


Reference: 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.

92. Jean-Joseph Vaudechamp (French, 1790-1866, active New Orleans, 18311839), “Portrait of Marie Emeranthe Becnel Brou (Madame Samuel Hermann)”, oil on canvas, signed and dated “1833” lower left, with a handwritten label identifying the sitter en verso, 45 in. x 35 1/8 in., in a period giltwood frame. $25000/35000 Provenance: Descended in the family of the sitter; to her granddaughter (from her first marriage to Pierre Antoine Brou) Louise Polymnie Josephine Brou Hebrard (1828-1905); and thence by descent to Berthe Marie Olivier de Vezin de Tarnowsky. Note: Widowed as a young woman, Emeranthe married German immigrant Samuel Hermann (1778-1853), who became one of the wealthiest merchant bankers in New Orleans in the early years of the 19th century. In about 1830 Hermann built the handsome townhouse at 820 St. Louis St. that is now a National Historic Landmark open to the public as the Hermann-Grima Historic House Museum. The museum’s collection includes the splendid Vaudechamp portrait of Samuel Hermann which is the pendant to the portrait offered here, as well as Vaudechamp portraits of the Hermann children Marie Virginie and Lucien. Jean-Joseph Vaudechamp, who wintered in New Orleans from 1831 to 1839, is considered the foremost portrait painter in the city during that time. Reference: Rudolph, William Keyse, Vaudechamp in New Orleans, New Orleans: The Historic New Orleans Collection, 2007. Encyclopaedia of New Orleans Artists, 1718-1918, pp. 392-393. Reproduced in Korn, Bertram Wallace, The Early Jews of New Orleans, American Jewish Historical Society, Waltham, 1969; and Rudolph, William Keyse, “Jean-Joseph Vaudechamp in France and Louisiana,” dissertation, Bryn Mawr College, 2003, pp. 417-418.

92 93. Joseph Rusling Meeker (American/Louisiana, 1827-1889), “Bayou Plaquemines, Louisiana”, 1884, oil on canvas, signed and dated lower left, 18 in. x 30 in., in a carved and giltwood frame. $25000/35000 Note: Joseph Rusling Meeker was a master at depicting the ethereal atmosphere and variations of light of Louisiana’s swamps and bayous. In the painting offered here, Meeker contrasts a luminous sky with the dark, finely detailed trees creating a strong chiaroscuro effect and accurately portraying the time of day. A smaller but similar composition from the Roger H. Ogden collection, and now in the Ogden Museum of Southern Art, has the same central grouping of trees and expansive landscape in the background. Reference: Delehanty, Randolph, Art in the American South: Works from the Ogden Collection, LSU Press, 1996, p. 20-21.

93 W denotes the lot is illustrated at



95. Charles Giroux (b. France, c. 1828, active New Orleans 1868-1885), “Une Scène Acadienne”, oil on canvas, unsigned, 14 1/8 in. x 17 3/8 in. $15000/25000 Note: Charles Giroux depicted the rural landscapes of Louisiana’s bayou country from the 1860s to the 1880s. Employing a unique style, perspective and compositional format, his work is often unsigned. The painting offered here relates closely to a signed work in the collection of the Ogden Museum of Southern Art from the collection of Roger H. Ogden. Both works depict a similar cabin along a curved bayou with chickens in the yard and a flock of ducks paddling in the water, with a woman in a blue dress and a man in a red shirt. Additionally, each has a fence line with a similar perspective of a dirt road running on the diagonal, and large moss-laden trees in the foreground. The billowing clouds and distinctive bright coloration are other traits of this painting that are quintessentially characteristic of Giroux. 95

94. Alfred W. Thompson (American, 1840-1896), “On the Road to Norfolk”, 1886, oil on canvas, signed and dated “’86” lower right, with a “The Charleston Renaissance Gallery, Charleston, SC” label en verso, 9 in. x 14 in., in a giltwood frame. $20000/30000


Reference: Delehanty, Randolph, Art in the American South: Works from the Ogden Collection, LSU Press, 1996, p. 119.



97. After John James Audubon (American, 1785-1851), The Quadrupeds of North America, by John James Audubon and the Rev. John Bachman, published by V.G. Audubon, New York, 1854, 3 volumes, octavo, with 155 plates after J.J & J.W. Audubon, printed and hand-colored by J.T. Bowen and Nagel & Weingaertner, uniformly bound. $2500/3500 Provenance: Ardoyne Plantation, Terrebonne Parish, LA. 97

98. After John James Audubon (American, 1785-1851), “Stanley Hawk”, Plate XXXVI, hand-colored aquatint engraving, Havell edition, from Birds of America, the elephantfolio paper watermarked “J. Whatman/ 1836”, sheet 37 5/8 in. x 24 5/8 in.

96. Thomas Loraine McKenney (17851859) and James Hall (1793-1868), Editors, History of the Indian Tribes of North America, 1858, Daniel Rice and A.N. Hart, Philadelphia, 3 volumes, octavo, original tooled full leather, all edges gilt, featuring 120 hand-colored lithographic plates after Karl Bodmer, Charles Bird King, James Otto Lewis, P. Rindisbacher and R.M. Sully.


$7000/10000 Provenance: Ardoyne Plantation, Terrebonne Parish, LA.


99. [Wall Map], J. Calvin Smith, Map of the United States of America including Canada and a large portion of Texas, 1844, New York, handcolored engraved wall map, made from 9 sheets, linen-backed, with large decorative border showing vignettes of American Indians, cities, hunting and wildlife, 5 ft. 6 in. x 10 ft. 8 in., with original wooden dowel top. $1200/1800 Provenance: Ardoyne Plantation, Terrebonne Parish, LA. W denotes the lot is illustrated at


102. [West Florida/ New Feliciana, Spanish Louisiana Manuscript Map], a manuscript survey by Christopher Bolling, surveyor, dated Sept 8, 1803, for a tract of land bordering the 31st parallel, sold by William Vousdan to Samuel Hutchins, very detailed, showing courses of Bayou Sarah, trees used as markers and most interestingly, an “Indian Trace”, 12 in. x 16 1/2 in., attractively matted and framed. $3500/4500


Note: This very impressive survey, with eight lines of the most perfect “copperplate” penmanship including a bold signature of the well-known Deputy Surveyor-General for the Natchez and Feliciana districts, Christopher Bolling (known active c.17901805), is a masterpiece of its type. On a large sheet of laid paper (12 in. x 16 ½ in.) a ruled border is placed around a title (LOUISIANA 1803 / District of New Feliciana) and a wonderfully clear, detailed, and accurate sketch of the properties in question; the bottom half of the sheet is devoted to an explanatory text. “I do hereby Certify, that I have carefully traced the lines of two Tracts of Land Sold by William Vousdan Esq.r (Deceased) / to Mr. Samuel Hutchins, Situated on the Waters of Bayou Sarah, in the District of New Feliciana. Beginning at a/ Stake at the Line of Demarkation or Latitude 31° North … thence along said Line to the Beginning Stake; Containing in the whole, Two thousand eight hundred and Ninety French / Acres, and the said Tracts have such Shape and Marks both Natural and artificial as are represented on the above plots. / Given under my hand the 8th Day of September 1803. / Christopher Bolling Surveyor” W 103. [Revolutionary War], The Revolutionary Diplomatic


W 100. [Wall Map], Jacob Monk, New Map of that portion of

North America exhibiting the United States and Territories, the Canadas, New Brunswick, Nova Scotia and Mexico, also, Central America and The West India Islands, 1853, Baltimore, colored lithograph, linen-backed, original wooden dowel, top, 58 in. x 60 in. Note: Condition.

Correspondence of the United States, edited by Francis Wharton, published by the Government Printing Office, Washington, D.C., 1889, 6 volumes, full leather, gilt titles, each volume with ex-libris of “John Dalton Shaffer, Ardoyne Plantation, Parish of Terrebonne, LA”. $600/900 Provenance: Ardoyne Plantation, Terrebonne Parish, LA.


104. [Thomas Jefferson], The Writings of Thomas Jefferson, 1854-1859, edited by H.A. Washington, published by John Riker, 9 volumes, three-quarter leather with gilt titles.

Provenance: Ardoyne Plantation, Terrebonne Parish, LA.

$700/1000 Provenance: Ardoyne Plantation, Terrebonne Parish, LA.

W 101. [Louisiana Wall Map], George F. Cram, 1908 Map of the

State of Louisiana issued for the Railroad Commission of Louisiana, 1908, Chicago, engraved map, linen-backed, showing the railroad system of the state, the distances between stations, the post offices, the waterways, and containing a detail of information useful to shippers and travelers, 37 in. x 39 1/4 in. $500/700 Provenance: Ardoyne Plantation, Terrebonne Parish, LA.


W 105. [George Washington], The Writings of George

Washington..., 1834-1839, edited by Jared Sparks, published by Ferdinand Andrews, Boston; and Russell, Ordiorne & Metcalf, 12 volumes, leather. $600/900 Provenance: Ardoyne Plantation, Terrebonne Parish, LA.

106. George Washington Autograph Letter, to Robert Morris and Blair McClenachan, 20 June 1780 from Springfield, NJ, thanking them for their letter and a gift of spirits, 1 folio page, ink on paper, formerly folded in half and then in quarters, now spread flat and matted, 13 1/8 in. x 16 5/16 in. (33.4 cm. x 41.4 cm.), in a fine clear hand with bold signature and full address, indexed in a later hand with details of protagonists, date, and place.

largest marine force in the Americas—but “came out about even.”

$30000/50000 Provenance: David Gage Joyce; his sale, Hanzel Galleries, Inc., Chicago, 23-24 September 1973; purchased there by Marshall Field & Co., Antiquarian Books, Prints, and Maps; sold by them to Mrs. Hans Schneider, Hammond, LA. Note: This very handsome, large letter is entirely holograph (exclusively in the hand of the writer), with a signature on both sections, that is at the foot of the letter proper, as well as at the end of the address. Its text has been slightly misinterpreted in the standard Writings of George Washington from the Original Manuscript Sources, 1745-1799, John C. Fitzpatrick, editor, Washington, 1931-1940, so a complete transcription is given here: Head Qrs. at Spring-field n 20th. June 1780 Gent. I am honored with your / favor of the 3d. and have received—in / good order—the pipe of spirits you were / pleased to present me with.—for both / permit me to offer my grateful thanks, / and to assure you that, the value of / the latter was greatly enhanced by the / flattering sentiments contained in the / former. In a struggle like ours—per plexed with embarrassments—if it / should be my fortune to conduct the / Military helm in such a manner as / to merit the approbation of good men / and my suffering fellow Citizens it /


will be the primary happiness of my / life because it is the first & great / object of my wishes. To you Gent. I shall commit / the charge of making a tender of my / respect & thanks to the rest of the owners / —with much esteem & personal regard / I have the honor to be / Gentn. / Yr. most obed.t & oblig’d / G: Washington [The letter is addressed in an inscription running vertically on the left side of the sheet Robt Morris & B. McClenachan Esqrs. Merchts. Philadelpª G:° Washington

Robert Morris (1734-1806) signed the Declaration of Independence, the Articles of Confederation, and the Constitution of the United States. He rose from clerk to partner of the immensely prosperous Philadelphia firm of Willing & Morris, and used his vast fortune to finance the American Revolution: in the single year of 1783 he loaned the Continental Congress some $15 million. He was created Secretary of Foreign Affairs from 1781 to 1784, in which he held two of the first executive offices of the infant republic, as Superintendent of Finance and of the Marine. His proposal to organize hard currency on the decimal system was taken over by Thomas Jefferson in 1784. He helped to found the two first banks in the new country, and commented after Yorktown (which campaign he decisively furthered) that the struggle had turned from a war of bullets to a war of finances. He was offered the post of Secretary of the Treasury in 1789, but declined it in favor of his friend Alexander Hamilton; he did become one of the initial Senators from Pennsylvania, serving from 1789 to 1795. Blair McClenachan (1751-1812) also financed the Continental Army with a major subscription in 1780, and also served in the U. S. Congress (as a Representative from Pennsylvania’s second district) from 1797 to 1799. This beautiful letter is a fitting tribute from the first Commanderin-Chief to two of the most selfless men of the Revolutionary period. W 107. An Illuminated Vellum

Document Signed by Charles VI, Holy Roman Emperor, seven page manuscript document, on vellum, c. 1735, signed by Charles VI (1685-1740), the large pendant wax seal enclosed in a round carved wood case. $600/900 W 108. A Group of Five Antique

[The document is annotated, in a later hand Head Quarters at / Springfield Genl. Washington / to Blair McClenachan / & Robt Morris / 20 June 1780. The “rest of the owners” mentioned at the end were joint proprietors of one of the huge fleet of privateer ships owned by Morris (with incidental help from McClenahan): Morris said after the Revolution that he had lost 1500 ships—his was the

French Hand-Colored Engraved Maps of the Gulf and Atlantic Coasts, 18th c., by Jacques N. Bellin, the maps as follows: the Gulf Coast from Mobile Bay to Cedar Key, FL; Louisiana and surrounding areas; the coasts of Georgia and the Carolinas; the coast of north Florida; and the mouth of the Mississippi, sights 9 in. x 6 1/2 in. to 9 in. x 14 in., attractively matted and framed alike. $800/1200 Provenance: The Old Print Shop, New York, NY.

W denotes the lot is illustrated at


W 110. An Antique Map of Western

Mexico, c. 1620, from the Mercator/Hondius Atlas, hand-colored copper engraving, with decorative cartouche, sea monster and ship, sheet 14 3/4 in. x 19 1/4 in., float mounted, attractively matted and framed. $600/900 W 111. An American Inlaid Mahogany Tilt-

Top Table in the Chippendale Taste, 20th c., New Orleans, bench-made, signed “Bruno ‘80”, the top with inlaid game board, vasiform stem on arched legs, slipper feet, height 28 in., width 28 in., depth 28 in. $500/700


112. An Antique Louisiana Cypress Side Table, 19th c., plank top, plain skirt, square tapered legs, retains traces of gros rouge stain, height 27 1/2 in., width 20 in., depth 20 in. $1000/1500



109. Jean Baptiste Bourguignon d’Anville (French, 1697-1782), “Carte de la Louisiane”, handcolored copper engraved map, on two sheets, created 1732, published 1752, with an inset map of the upper Mississippi River Valley, sight 21 in. x 37 in., attractively matted and framed.

$800/1200 114. A French Provincial Carved Walnut Duchesse, floral crest, cabriole legs ending in scrolls on pad feet, height 37 in., length 84 in., depth 31 in.




113. An American Carved Mahogany Barrel Back Armchair, mid19th c., probably New York, having a shaped, rolled crest with painted Neoclassical urn, scrolled arms, lion mask carved supports, acanthus-carved saber legs, associated brass paw feet.






115. A Fine Antique French Cast Iron Baker’s Table, 19th c., original marble top, Gothicized pierced frieze with pendant corners, scrolled base with mask roundels, brass fittings, stretchers, casters, height 31 in., width 49 1/2 in., depth 29 1/2 in. $2000/3000 116. An Antique Spanish Colonial Hardwood Butaquito, probably Mexican, related to the Campeche chair form found typically in Mexico, New Orleans, and Havana, leather upholstery, affixed to X-form frame, mortised construction, height 12 3/8 in.

118. An Antique Continental Oak, Ebonized and Marquetry Coffer, the molded top opening to a void interior, interior strapwork hinges, stepped plinth, bun feet, height 27 1/2 in., width 46 in., depth 25 3/4 in. $1500/2500

117. A French Provincial Fruitwood Dining Table, 18th c., rectangular plank top, straight apron, cabriole legs ending in whorl feet, height 30 in., width 76 1/2 in., depth 38 in.

119. An American Queen Anne Maple Highboy, 18th c., Massachusetts, stepped molded cornice with concealed map drawer, two over three graduated drawers; the lower case with short drawer flanked by deep drawers, arched skirt with pendants, slender cabriole legs ending in pad feet, height 65 3/8 in., width 39 1/2 in., depth 21 in.




119 W denotes the lot is illustrated at


121. A Late Federal Carved Mahogany Dressing Chest, 1820, New York, rectangular mirror on acanthus carved supports, the case with three short and one long drawer, raised on rope turned legs with shaped stretcher shelf, turned feet with distinctive brass ferrules; highly figured mahogany, height 57in., width 35 in., depth 18 1/2 in. $1200/1800 120




120. A Good American Gothic Carved Rosewood Side Chair, c. 1840, New York, leaf finial, arched back with foliate reticulation above shaped pad, stiles with cruciform finials, shaped seat, square tapering legs, casters. Note: Stiles repaired, shrinkage. $500/700

122. A Regency Carved Mahogany Metamorphic Library Armchair, early 19th c., incurvate tablet crest and medial rail with bosses, molded scroll arms, caned seat, hinged seat rail folding over to convert to four tread library step, molded stretchers. $2000/3000 123. A Pair of Antique Georgian-Style Carved Mahogany “Gainsborough” Chairs, 19th c., arched crest, acanthus-carved scrolled arms, serpentine foliate carved seat rail, on distinctive cabochon and acanthus carved cabriole legs ending in acanthine feet. $800/1200


124. A Regency Carved Mahogany Rent Table, early 19th c., circular top inset with red tooled leather, frieze with drawers and faux drawers, bulbous baluster stem, molded saber legs, brass cuffs, casters, height 30 in., diameter 48 in. $1800/2500 125. A Good William IV Carved Mahogany Cellarette, early 19th c., London, sarcophagus form, paneled lid with grape cluster finial, chamfered case, open interior, on canted paw feet, recessed casters, height 25 in., width 33 1/2 in., depth 24 in. $5000/7000



126. Marco De Gregorio (Italian/Naples 1829-1876), “A Teacher and Students in the Corner of a Mosque”, c. 1861, oil on canvas, signed lower left, 19 3/4 in. x 14 1/2 in., in a very elaborate carved giltwood frame. $8000/12000 Note: Immediately following the unification of Italy in 1861 (during which campaign he served in the army), Marco De Gregorio founded the Scuola di Resina in the former Royal Palace at Portici, on the Bay of Naples. The most important influence on his younger years was Filippo Palizzi (18181899), who in 1861 opened his Neapolitan studio to young painters interested in the nude, and in the rendering of light. Palizzi’s influence is particularly seen in this superb, meticulous picture, a prime demonstration of both painters’ interest in interior lighting, painstaking finish, and minute brushstrokes. Soon after setting up at Portici, De Gregorio - the dominant personality in the group, then aged 32 - was joined by other artists who with him formed the core of the Scuola di Resina: in the early 1860s by Federico Rossano (1835-1912) of Naples, in 1863 by Adriano Cecioni (1836-1886), a “macchiaiolo” painter from Florence, and above all in 1864 by Giuseppe De Nittis (1846-1884) from Barletta. The latter two painters stayed active in the group until both moved to Florence in 1867 (De Nittis continued on to Paris, where he was joined a year or two later by Rossano), so that by 1867 De Gregorio essentially carried the group by himself.


This very beautiful and precise picture must be a relatively early work of De Gregorio’s, painted under the strong influence of his sojourn with Filippo Palizzi (1861). Its imagined structure, so closely based on the Great Mosque at Córdoba in Spain (perhaps, like other Portici pictures, based on an early photograph?), clearly bears out Palizzi’s conviction that setting counted for more than action. The wonderful modulation of local colors, forming the dynamic variations between dark and light that were so essential to the painters of the Scuola di Resina, have here a kind of inspired prefiguration.

W denotes the lot is illustrated at


127. Southern Italian School, late 18th c., “Still Life with Vegetables”, oil on canvas, 19 1/2 in. x 26 3/4 in., in a fine period cove molded giltwood frame. $2000/3000



128. French School, mid19th 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. $1200/1800 129. Joseph Bernard (pseudonym of Hans Zatzka Austrian, 18591945), “Dawn”, oil on wood panel, signed “J. Bernard” lower right, 19 7/8 in. x 9 3/4 in., in a giltwood frame. $15000/18000 130. An Italian Marble of Artemis, after the Antique, the Greek Goddess of the Hunt depicted with her usual attribute of a quiver of arrows, her dog at her feet, marble height 48 in., width 20 in., depth 13 7/8 in.; pedestal height 21 3/4 in., width 26 1/8 in., depth 22 1/8 in. $5000/7000





133 (detail)

133. An American Aesthetic Pietra Dura, Inlaid Burlwood and Carved Oak Low Table, c. 1870, attributed to Herter Bros., New York, rectangular burled top with wide foliate and floral banding, the skirt having stylized floral banding and pietra dura plaques, faceted legs, incurvate stretcher with medial shelf; now reduced in height, height 18 in., width 48 in., depth 30 1/2 in.


131. An American Classical Églomisé and Mahogany Mirror, c. 1810-1815, Philadelphia, the cove-molded cornice with carved frieze above an églomisé panel, flanked by trilobed columns centering a mirror plate, blocked at the base, completely original, height 51 in., width 25 in.




132. A Charles X Bronze Doré Figural Mantel Clock, early 19th c., the figure of Amore resting on the case, accompanied by his bow and wreath, tall plinth base with trophée mounts, height 14 1/2 in., width 12 1/2 in., depth 4 1/2 in.

Note: Various elements on this table are related to those on known Herter examples. The turnings, stretcher terminals and feet are identical to those on a c. 1875 walnut center table made by Herter Brothers for the Beaty House of Warren, Pennsylvania. Reference: Beaty House table: Sotheby’s lot 170, September 12, 1995 .

134. An American Renaissance Carved Walnut Guéridon, late 19th c., Philadelphia, inset marble top with incised wide molded edge, turned stem flanked by griffin masks and acanthine scrolls, splayed legs, hoof feet, height 33 in., diameter 14 in.



132 W denotes the lot is illustrated at


135. A Very Rare American Gothic Carved Mahogany Mixing Cabinet, early 19th c., signed “H. Noblet Wilmington, Dl”, Hamilton Noblet (Wilmington, Delaware), the original rectangular marble top over an ogee-molded frieze drawer, arched paneled cupboard door, stepped ripple molded plinth, height 38 in., width 36 in., depth 18 in.

137. An American Late Federal Carved Mahogany Dressing Stand, early 19th c., rectangular mirror with turned supports, the backsplash above a marble top, a pair of faceted frieze drawers, scrolled and acanthus carved supports, turned supports to the rear, scalloped stretcher shelf, trestle base, height 69 in., width 28 in., depth 19 1/2 in.

$8000/12000 Note: A member of a family of noted Quaker cabinetmakers, Hamilton Noblit (sic Noblet) is listed with a shop on Market Street between 8th and 9th streets in the 1845 Wilmington City Directory and in the New Castle County Indenture Books of 1836-1853. Noblit’s father, Dell Noblit (or Noblett, as spelled in early directories), was born in 1777 in Chester Co., Pennsylvania and worked in Germantown, Pennsylvania, and New York before settling in Wilmington before 1810. In 1815, the elder Noblit had a workshop at 6th and Market Streets which was then occupied in 1845 by brother John Noblit, two blocks from Hamilton Noblit’s shop and among a concentration of cabinet shops on lower Market and Shipley Streets in Wilmington. Reference: Dorman. Delaware Cabinetmakers and Allied Artisans 1655-1855, pp.63-66; Bjerkoe. The Cabinetmakers of America, p 164; Hancock. “Furniture Craftsmen in Delaware Records”, Winterthur Portfolio (January 1974) p. 192.




136. A Rare American Modern Gothic Incised Walnut Daybed, c. 1876, with incised stamp “Hunzinger...Pat. April 18 1876”, adjustable back with concentric boss crest ends, “U” arms with cone terminals, tapering legs with ball tops, stretchers with spindles and spherules, retaining original woven wire webbing, original surface with paint decoration intact, height 35 in., exterior width 24 in., exterior depth 73 in. $6000/8000 Note: This rare Hunzinger daybed is identical to examples in the Brooklyn Museum of Art (acc. 86.177) and the Milwaukee Art Museum (acc. M1987.147). Considered one of the most progressive of Hunzinger’s designs, this daybed uses bold geometric elements to compose a form similar to Grecian sofas and recamiers of the Classical period in the early 19th century. Reference: Harwood, The Furniture of George Hunzinger, Invention and Innovation in Nineteenth-Century America, pp. 97-99.



138. Antoine-Jean, Baron Gros (French, 1771-1835), “Napoleon I, Emperor of the French (1769-1821)”, oil on canvas (oval stretcher), inscribed “J. Gros. / 1807.” en verso, 26 1/2 in. x 22 1/4  in., in original carved and molded giltwood frame, with laurel diadems in spandrels and massive thunderbolts as crests. $30000/50000 Provenance: Victor Marie Maurin (1784-1836), probably the son of Baron Jacques-Marie-Joseph Maurin and the nephew of Baron Antoine Maurin, Brigadier General in the Napoleonic Army; to Major Victor Auguste Maurin (1818-1875), of the Confederate Army; to Joseph Maurin (1873-1904); to Nolan Maurin (19031988); inherited by the present owner. Note: This strikingly informal portrait shows “le grand Empereur” bareheaded, and wearing an ordinary uniform, decorated only with the Grand Cross of the Legion of Honor and a couple of campaign ribbons; but its sense of majesty and power comes from Gros’ intimate relationship with the sitter, and his mastery of nuance and subtlety in the handling of paint. One sees instantly, from this inspired characterization, why Gros was nominated by all succeeding painters as the fountainhead of the Romantic Movement. The almost Leonardesque sfumato, or haziness of outline (especially in the magisterial handling of the eyes), the delicacy of treatment in the features (especially the sensuous fullness of the lips), and the vivacious coloring (especially in the vigorous impasto of the flesh tones, in the highlighted areas of forehead, cheeks, and chin), all bring this portrait very close to an ideal of the romantic hero. Gros here takes full advantage of Napoléon’s youth and beauty to transmit a vision of the perfectibility

of state portraiture, even in so private and personal an image as this.


An independent confirmation that the Emperor actually looked like this, at the time the picture was painted, is afforded by a full-length portrait by Robert Lefèvre (1755-1830), Napoléon en Costume du Sacre (Napoleon in Coronation Robes), of 1806 [Château de Versailles], and its nearly 40 autograph replicas, extending at least until 1808 (Jacques Seligman & Co., Inc. Baron A-J Gros, Painter of Battles, New York, 1955, pl. 1). The Emperor himself is said to have approved of these many versions particularly for their fine likeness; in this picture by Baron Gros we find the same informal curl of hair across the forehead, the same smoldering gaze, and the same sense of majesty, albeit in a much more relaxed costume. A highly comparable image from Gros’ own workshop, at a size identical to this picture, is a portrait of Napoléon as General that was sold by Koller Auctionen AG (22 September 2004, lot 3093). This fine painting is unrelined, and untouched by restoration; the inscription on the verso (if probably not in Gros’ own handwriting, with which it has slight differences), is at the least certainly contemporaneous, as evidenced by the date of 1807, and the degree to which the likeness parallels Lefèvre’s of the same years. The frame is superb: its laurel wreaths accurately symbolize military prowess, and the huge sheaf of thunderbolts (modeled on ancient Greek coins of Olympia, Zeus’ sanctuary in Elis) stand for the omnipotence of a monarch who was then at the height of his power and reputation; it was evidently intended for presentation to a personal friend at court or in the army. References: David O’Brien, After the Revolution: Antoine-Jean Gros—Painting and Propaganda Under Napoleon, Pennsylvania State University Press, 2006. We are very grateful indeed to Professor O’Brien and to a colleague of his at the Château de Versailles for their kind commentaries on this picture.

W denotes the lot is illustrated at



139. An Important French Marble and Bronze Mounted Mantel Clock, early 19th c., Paris, silkthread movement, surmounted by globe incised “America” flanked by symbols of education and exploration; bronze dial ; the case carved with Roman fasces, an “E. Pluribus Unum” banner, and an American eagle clutching arrows and olive branches, raised plinth, carved block feet, height 21 in., width 9 1/2 in., depth 6 in.

139A. A Very Fine French Gilt Bronze of “Jeanne d’Arc à Cheval”, early 20th c., after Emmanuel Fremiet (French, 1824-1910), original maquette of 1872-3, cast signature, dedicatory plaque at base, numbered “623” at base, height 28 1/2 in., width 13 1/2 in., depth 7 in.



Provenance: Estate of the esteemed antiquarian Grant Albert Oakes, Sr.

Note: In the wake of a papal appeal from the Bishops of Orléans, Frémiet conceived an over-lifesize equestrian monument of Joan of Arc as an inspiring image of French heroism, patriotism, and national pride. He prepared a preliminary maquette between 1872 and 1873, now in the Musée d’Orsay. A site was selected in April 1873 in the Place des Pyramides where it was believed Joan had been wounded during her ill-fated attempt to drive the Burgundian-British faction from the Château du Louvre. Frémiet’s monument was inaugurated on 20 February 1874, but was immediately engulfed in storms of protest from Republicans, suspecting its Royalist overtones. While Parisians soon came to love the evocative naturalism of Frémiet’s splendid design, the sculptor himself resolved to remodel and to replace it. He unveiled a second design in the Salon of 1889 which simplified the horse, while adding 9 inches to the rider’s height. The revised conception was accepted and installed at Nancy (1890), as well as cast for Philadelphia (1890); a clandestine cast was made, and secretly held in readiness. In 1899 the construction of the Métro provided a pretext for removal of the original monument to the foundry, where it was melted down. On 16 May 1899 Frémiet’s second version was reinstalled under the “camouflage” of new gilding. This version proved popular: it was cast at full size for Mirecourt, Lille, Castres, and St-étienne in France, as well as for Melbourne (1906), Portland, Oregon (1924) and New Orleans (1958).

Note: This significant presentation clock is wholly inspired by the Great Seal of the United States, the full design printed by James Trenchard in Philadelphia’s The Columbian Magazine, September, 1786. This lot relates closely to a number of permanent and temporary monuments erected in major American cities to celebrate American heroic personages, notably Washington’s inauguratory tour of 1789 and General Lafayette’s visit in 1824. Among the thirteen triumphal arches built in Philadelphia commemorating Lafayette’s tour, one was crested with an eagle very similar to that on this clock. Parisian clock makers met an American appetite for citizen-soldier themed objects with a variety of patriotic presentation clocks, most notably Dubuc’s “George Washington” clock, now in the Metropolitan Museum of Art (acc. 31.41.1), also with elements from the Great Seal. Reference: Scott. Temple of Liberty, pp. 9-12 and 108-110; Cooper. Classical Taste in America 1800-1840. p. 239, pl. 192. and Tracy. Classical America 1815-1845. fig. 211.



References: Ted Gott, “An Iron Maiden for Melbourne: the History and Context of Emmanuel Frémiet’s... Jeanne d’Arc,” The La Trobe Journal, Fall 2008. Ruth Mirolli Butler, 19th C. French Sculpture: Monuments for the Middle Class (Louisville, 1971), pp. 175-7; Albert Boime, Hollow Icons: The Politics of Sculpture in 19th-C. France (Kent State, 1987), pp. 88-94; and Philip Ward-Jackson, “Frémiet, Emmanuel”, Dictionary of Art (Grove, London, 1996), vol. 11, pp. 753-4.

The Semmes – Wright Collection The following lots, from two differingly-famous American heroes, are the result of a fortuitous alliance between two of the South’s great families. The elder of these Southern patriots was Admiral and General Raphael Semmes of Alabama (1809-1877); the younger was his son-inlaw (and U. S. Secretary of War, Governor of the Philippines, and Ambassador to Japan), Luke Edward Wright of Memphis (18461922). Raphael Semmes (the great, great grandfather of the consignor) came from an old Maryland family, from which he entered the Navy at seventeen. After a period of active duty, he took his first leave to study law; he was married to Anne Elizabeth Spencer (1818-1892) of Cincinnati in 1837. During the Mexican-American War of 1846-1848 Semmes commanded the brig USS Somers, which saw action in the Gulf of Mexico, but was sunk in a storm off Veracruz in December 1846; Semmes was commended for his efforts to save the stricken ship, and was cited for gallantry. For the next fifteen years of peacetime, Semmes took an extended leave from naval service, during which he practiced law in Mobile, Alabama. An index of his popularity is that the town of Semmes, Alabama (now a suburb northwest of Mobile) was named for him. Still technically on the active list of the U. S. Navy, he was promoted to commander in 1855. With Alabama’s secession from the Union in 1861, Semmes was appointed a commander in the Confederate Navy, and transferred to New Orleans. There he oversaw conversion of a commercial steamer (the Habana, bought in New Orleans in April 1861) as the cruiser CSS Sumter, mounting five guns. With an almost untrained crew, but a cadre of seven dashing and promising young officers, on 30 June 1861 Semmes outran the USS Brooklyn to break the Federal blockade of the Mississippi, and inaugurated a meteoric career of preying on the mercantile shipping of the Caribbean and Atlantic. In the few months before he put in to Gibraltar for repairs— and was effectively sealed up in that British refuge by Federal warships—he had captured some eighteen American naval and merchant vessels, and become one of the most celebrated, and feared, of Southern commanders. After selling his ship and traveling overland to England with his crew, Semmes was promoted to captain, and sent to the Azores to rendezvous with a new ship, which James D. Bullock, the Confederacy’s principal procurement agent, had ordered from Laird Brothers of Birkenhead (Liverpool). This was the fast raider Enrica, which Semmes fitted out as the famous CSS Alabama, of ten guns; she was commissioned as a Confederate ship of war on 24 August 1862. During a nearly two-year cruise through the Atlantic (including the Gulf of Mexico), around Africa to the Indian Ocean, and into the Pacific, Semmes and his crew took some 64 prizes, becoming the most notorious—and again the most feared—of all Confederate ship commands. (A splendid early photograph of Semmes and his crew on the Alabama is included in the following lots.) All told, with the Sumter and the Alabama considered together, they accounted for the capture of 82 vessels, and an interruption of six million dollars of Federal revenue; they also sunk a Northern warship, the USS Hatteras, off Galveston. On 19 June 1864 Semmes took the Alabama out of Cherbourg, where she had been blockaded by U. S. Navy Captain John Winslow (a shipmate of Semmes’ during the Mexican War) in his heavily armored ship, USS Kearsarge. In one of the most famous naval engagements of the war, the Alabama’s too-rapid gunnery and deteriorated powder and fuses helped the Federals to prevail, and Semmes threw his sword into the sea as his ship went down; he and 41 of his crew were rescued by the British yacht Deerhound and taken to England, where Semmes was cured of a wound received in the Channel engagement. After making his way back to the South, Semmes was promoted to rear admiral (on the strength of his extraordinary accomplishments in the Alabama), and commanded the James River Squadron from the ironclad CSS Virginia II. When Richmond fell in April 1865 he supervised

the burning of all the remaining Confederate ships, and was commissioned a brigadier general in the Southern army; his former crew became an infantry unit, called the “Naval Brigade.” After trying to join General R. E. Lee—who had retreated from Petersburg, on his way to Appomatox—Semmes and his Naval Brigade escaped by train in an effort to join General J. E. Johnson in North Carolina; they were eventually captured by General W. T. Sherman and paroled at Durham Station. Following his release from a brief imprisonment on a charge of treason, Semmes served as a professor of philosophy and literature at what is now L.S.U., as a judge, and as a newspaper editor; after his years in Baton Rouge he returned to the practice of law in Mobile. That town presented him and his wife with the “Semmes house” in 1871, and he died on 30 August 1877 in Point Clear; his wife died in 1892 in Mobile. ****** Meanwhile the second daughter of Anne Spencer and Raphael Semmes (among their six surviving children), Katherine Middleton Semmes (1844-1937) had been married at Mobile in 1869 to Luke Edward Wright (1846-1922) of Tennessee. In sharp contrast to his father-in-law, Wright’s role in the Civil War was a decidedly short one: he enlisted at age fifteen with Company G of the 154th Regiment, and in 1863 was cited for bravery under fire at the Battle of Murfreesboro; shortly thereafter he was promoted to 2nd lieutenant. He spent a year at Ole Miss in 1867-1868, then pursued the study of law at his father’s office in Memphis. After his entry at the Tennessee bar and into practice in Memphis, he served for eight years at the state’s Attorney General, during which he helped to establish a relief committee in response to the 1878 epidemic of yellow fever. Wright’s emergence onto the national stage came on the heels of the Spanish-American War, with the retirement of President William McKinley’s first Philippine Commission, headed by Dr. Jacob G. Schurman of Cornell University, in 1899. Following the lawlessness and guerilla warfare consequent to Admiral Dewey’s defeat of the Spanish forces there (1 May 1898), and the occupation of Manila by General Wesley Merritt (13 August 1898) and General E. S. Otis (5 February 1899), a peace treaty had been signed at Paris between the Spanish and the Americans, that was ratified by the U. S. Senate on 6 February 1899. It was immediately after these developments that the Schurman commission visited the islands and offered its preliminary report. In February 1900 a more powerful commission was established, under the leadership of Judge (later President and Chief Justice) William Howard Taft: among its five members was Luke Edward Wright. On 4 July 1901 Taft became Governor-General of the Philippines—the office of military governor having been ended by the withdrawal of U. S. troops—and Wright was appointed vice-governor; Wright succeeded Taft as Governor on 1 February 1904, to be replaced by a second member of the commission, in orderly rotation, in 1905. In 1906-1907 Wright was appointed U. S. ambassador to Japan, at the moment of that country’s annexation of Korea. He again succeeded Taft (of whom a memorial photograph is included with these lots) as U. S. Secretary of War under President Theodore Roosevelt in 1908-1909, a tenure that he largely devoted to the exploration of aviation technology. Retiring once more to the practice of law, he died in Memphis on 17 November 1922. ****** One other important Civil War relic descends from these united families. The great-grandfather of the consignor, George Mathews Edgar, was born in West Virginia in 1837; he was thus in his early 20s when he was a student of Stonewall Jackson’s at the Virginia Military Institute, and 24 when he enlisted with the Confederacy. He fought with the other VMI cadets at Newmarket, and was twice wounded: his third official sword is among the following lots. Edgar later became a prominent educator, serving as President of both Florida State University and the University of Arkansas. W denotes the lot is illustrated at



141. A Monumental Composite Photograph of the Crew of the Alabama, with copyright date of September 1897, albumen photograph depicting portraits of the crew and the ships Alabama and Kearsarge, mounted on board titled “Confederate Cruiser Alabama or “290” and Officers”, in original carved oak frame, photograph 18 in. x 22 in., frame 31 1/4 in. x 36 1/4 in. $3000/5000


142. A Fine Scratch-Built Scale Model of the C.S.S. Alabama, contemporary, built by Jerrod Matwih, highly detailed, museum quality, built from painted wood, metal, wire, cord and cloth, the hull, as in the original, sheathed in copper, with three long 32 pounders port and starboard, two pivot-guns amidship, plaque reads “CSS Alabama (No. 290)/ Built 1861, John Laird Sons, Liverpool England/ Capt. Raphael Semmes, CSN”, presented on a custom base with Plexiglas cover, total height 17 in., length 33 1/4 in., depth 11 3/4 in. $5000/7000 143. A Raphael Semmes Hairwork Memento Mori, 1877, made by the Nuns of the Visitation, Mobile, AL, depicting a fouled anchor amidst a memorial wreath and rose, with rosettes at the corners, glazed frame, 6 in. x 4 1/4 in. $3000/5000 Note: The Convent of the Visitation was founded in 1832 by Bishop Michael, first bishop of Mobile, after obtaining permission from Pope Gregory XVI. Five nuns were sent from Washington, D.C. and forty pupils enrolled in the first school year in 1833. The convent is still thriving as a center for retreats.


140. Raphael Semmes’ Model 1852 Naval Officer’s Saber and Belt, Ames Mfg. Co., Chicopee, Mass, dated 1852 on ricasso, etched blade showing fouled anchor, trophy of arms, resplendent eagle on deck gun, the fire-gilt guard displaying the earliest characteristics, shark-skin grip with intact gilded wire, leather scabbard with fire-gilt mounts, one marked by Ames, the accompanying fine belt with fire-gilt buckle. $8000/12000




146. A Fine Edouard Honoré Paris Porcelain Tazza, c. 1830, heavily gilt plate and pedestal on peachcolored incurvate triangular plinth base with molded edge, on large gilt paw feet, marked, height 6 in., diameter 9 in. $700/1000 Provenance: Collection of the Great-Great Grandson of Admiral Raphael Semmes, CSN. 147. Confederate Lieutenant Colonel George Mathews Edgar’s Model 1851 Foot Officer’s Sword, back of blade marked Chatellerault, 1848, wirewrapped horn grip, pierced guard with foliate design, French touch marks on ricasso, iron scabbard with worn drag. $5000/8000 Provenance: Directly from the great-grandson of Lieutenant Colonel George M. Edgar. 144

Note: George Mathews Edgar was born in West Virginia in 1837; he was thus in his early 20s when he was a student of Stonewall Jackson’s at Virginia Military Institute, and 24 when he enlisted in the Confederate Army. He fought with other VMI cadets with the 26th Battalion, Virginia Infantry. As a major in the Battle of Lewisburg he was shot through the side and captured by the Ohioans. He convalesced and was eventually exchanged, returning to his battalion as a lieutenant colonel.

144. Raphael Semmes’ Paris Porcelain Tureen, mid-19th c., marked “Semmes” on lid and rim of underplate, the lid with melon-form knop and molded leaves, scrolled handles with berries and leaves, each piece decorated in gilt with dense foliage, height of tureen 11 1/2 in., diameter 10 1/2 in., underplate length 17 in., width 12 in.

Fighting under Colonel Patton, Edgar led soldiers at New Market, White Sulphur and later, at Cold Market, where he was speared by a bayonet right shoulder and again taken prisoner. He once again fooled his captors into thinking he could no longer fight and was released. Recuperating throughout the remainder of the year, he rejoined his battalion in early 1865. Thus, this is Edgar’s third and last sword of action.

$9000/12000 Note: This tureen was part of a larger presentation service given to Semmes by the citizens of Mobile, AL, the same year they presented him with the townhouse at 804 Government St.

After the war, Edgar became a prominent educator, serving as President of both Florida State University and the University of Arkansas. He died on October 13, 1913 and was buried at Paris, Kentucky.


145. A Fine Paris Porcelain Cobalt and Gilt Footed Round Bowl, c. 1820, the exterior with Classical designs against a cobalt ground, the interior with broad gilt band, height 3 1/2 in., diameter 8 3/4 in. $500/750 Provenance: Collection of the GreatGreat Grandson of Admiral Raphael Semmes, CSN.

147 W denotes the lot is illustrated at


149. A Semmes-Wright Family Coin Silver Mounted Coconut Cup, c. 1870, lidded cup bearing conjoined monogram “KSW” for Katherine Semmes Wright, height 6 1/8 in., diameter 2 3/4 in. $2500/3500 Note: Katherine Middleton Semmes (1844-1937), daughter of Raphael and Ann Spencer Semmes, was married in 1869 to Luke Edward Wright (1846-1822) in Mobile, AL. Her stay in Tokyo, while her husband was Ambassador to Japan, inspired her to initiate the planting of the Japanese cherry trees still enjoyed in Washington’s tidal basin. 150. Luke Edward Wright’s Carved Hickory Presentation Cane from the Home of Andrew Jackson, 1907, the handle carved with hickory leaves and nuts, gold collar engraved “From the Home of Andrew Jackson, Presented by the Ladies Hermitage Association, 1907”, length 36 in. $1200/1800 Note: The Ladies’ Hermitage Association was organized in 1889 to honor President Andrew Jackson by preserving his home. It is known that President Theodore Roosevelt visited the home in 1907, the same year named on the cane. Luke Edward Wright, a very good friend of Roosevelt and a Tennessean, most assuredly received the cane while he accompanied Roosevelt on that visit. The Ladies’ Hermitage Association continues to manage the home and property, which receives more than 250,000 visitors annually.



148. Raphael Semmes’ American Patinated Bronze Desk Thermometer, c. 1870, “W. B. Gardner, Boston”, the silvered scale marked 0-120 degrees, blued-steel hardware, on molded bronze base, height 13 1/2 in., diameter 3 1/2 in. $1200/1800 151

151. Luke Edward Wright’s Silver Presentation Cane, c. 1901, the top engraved with conjoined initials “L.E.W.” and “ViceGovernor, Philippine Islands”, the waist engraved with the Great Seal of the United States and a Philippine village scene, the shaft also inlaid with swags, circles and diamonds, length 36 1/2 in. $2500/3500



Note: In 1900, Wright was a member of the second Philippine Commission and was appointed ViceGovernor of the Philippines in 1901. He became GovernorGeneral in 1904 and held that position until 1906.


152. An Important Archive of Luke Edward Wright, Governor-General of the Philippine Islands, numerous documents, photographs and ephemera including: A Typed Letter Signed from President Theodore Roosevelt to General Luke Wright, dated from Oyster Bay, NY, September 3, 1903, on White House stationery, alerting Wright that he is to take over as Governor of the Philippines when Taft comes to assume his position as Secretary of War. Framed. A Typed Letter Signed from A.F. Ruan, Dispersing Agent, Philippine Revenues to the Hon. Luke E. Wright, dated March 15, 1906, on War Department, Bureau of Insular Affairs letterhead, informing him of the enclosure of a check for $1,666.66 in payment of salary as Governor-General of the Philippine Islands and Member of Philippine Commission for the period Feb. 1-28, 1906. Framed with the business card of L.E. Wright, Governor General of the Philippine Islands. A Vintage Photograph of Philippine Commissioners Henry Clay Ide, William Howard Taft and Luke Edward Wright, the original mount

blind-stamped “Knight”, sight 6 3/4 in. x 5 3/4 in., framed. Luke Edward Wright’s Photograph Album showing 21 interior and exterior views of Malacañan Palace, the official Presidential residence of the Philippines, together with another framed photograph of the palace with people standing in front. A Rare Photograph Album of Sixty-Five views of Philippine landscapes, architecture, indigenous peoples and others from the time of Wright’s Governorship. Remains of the cover titled “Residence of the Governor General of the Philippine Islands.” Many of the photos show Wright and others out in the field, in boats, attending ceremonies, photographs 4 3/4 in. x 6 1/2 in. A Vintage Album of Newspaper Clippings of Wright’s Time as Ambassador to Japan, specifically on the topic of Wright’s resignation amid a climate of Japanese bashing in California. An Incredible Paper Archive of Hundreds of Letters, Calling Cards, Invitations and Ephemera from Wright’s time in the Philippines and Japan, interesting and historically important. $6000/9000 W denotes the lot is illustrated at




155. Luke Edward Wright’s Gold and Niello Inlaid Presentation Cane, c. 1900, handle inlaid with scrolls, foliage and lion masks, with French hallmark “Bte. S.G.D.C. (patent pending), the collar engraved “L.E. Wright”, the shaft heavily carved with dense foliage and architectural columns, length 36 1/2 in. $1200/1800 W 156. A Luke Edward Wright Silver Commemorative

Medallion from the Rangoon Railroad, 1905, diameter 1 1/4 in. $300/500 W 157. A Photograph of the “Charter & Active Members,

Tennessee Club, 1875-1916”, c. 1916, large silver gelatin print, mounted on titled board, showing Capt. R.A. Speed, Gen. Luke E. Wright, Capt. W.B. Mallory, James S. Robinson and Judge L.B. McFarland, photograph 18 1/2 in. x 15 in., in original oak frame; total dimensions 28 3/4 in x 24 in. $800/1200 W 158. Luke Edward Wright’s Igorot Carved Wood Figural

Cane, c. 1905, Philippines, carved from a twisted branch, with a figural finial, etched geometric design throughout, length 51 in. 154

153. Luke Edward Wrights’ Pair of Fine Chinese Carved Rosewood Armchairs from the Malacañan Palace, Manila, late 19th c., each with reticulated crest with a pair of opposing fourclaw dragons over flaming pearl amid ruyi clouds; the stiles carved with prunus and wisteria blossoms; dragon arms presenting pearls; apron of grape vines, and a muscrat pair, Buddhistic lion mask knees.

$800/1200 Note: The Igorot tribes were a group of related village-based societies in the mountainous country of central and northern Luzon, the largest island in the Philippine archipelago. Considered “primitive” in 1905, the tribe practiced animism, headhunting and considered dog meat a delicacy. Originally allied with the independence fighters known as insurrectos, the Igorot eventually became allies of the United States. Luke Edward Wright made frequent trips to the mountainous area where he likely received this cane as a gift.


W 159. An Enamel Photograph of President William

Provenance: With Luke Edward Wright (1846-1922), Governor-General of the Philippines, Malacañan Palace, San Miguel, Manila, 1904-1905; thence by descent.

Howard Taft (1857-1930), inscribed “Dedou” lower center, stamped “J.A. Dedouch/Oak Park, Ill./J.A. Karmen” and inscribed “11-19-32” en verso, 4 1/4 in. x 3 1/8 in., in a brass frame.

Note: The Malacañan Palace, also known as the Malacañang Palace, is the official residence and workplace of the President of the Philippines. When the Philippines came under American rule following the Spanish-American War, the Malacañan Palace became the residence of the American Governor-General, beginning with William Howard Taft (1900-1904) and followed closely by Luke Edward Wright in 1904, from whom these armchairs as well as the following lot descend. 154. Luke Edward Wrights’ Chinese Carved Rosewood Settee from the Malacañan Palace, Manila, late 19th c., en suite with previous lot, reticulated crest with a pair of four-clawed dragons, crab, shrimp, water reeds, lotus with a Phoenix and Buddhist emblems, height 47 in., width 66 in., depth 24 1/2 in. $2500/3500


$400/600 W 160. Luke Edward Wright’s Pocket Compendium, c. 1900,

marked “Tourist”, probably German for the American market, leatherwrapped case with gilt pin-stripes, spring-loaded button, the green silk-lined interior with an ivory thermometer, barometer with rotating bezel, compass, both with beveled glass, height 1 in. length 4 3/8 in. depth 3 1/8 in. $700/1000


161. A Confederate Battle Flag of the 47th Georgia Infantry, 1862, handmade from red cotton flannel, with dark blue wool and cotton blend dress material making up the blue cross, white cotton appliquéd stars, one side of the hoist bearing ink inscription “Col. A. C. Edwards”, the Lt. Colonel of the 47th Georgia, accompanied by an extensive authentication report by noted flag expert Howard Madaus and an analysis by textile conservator Fonda Thomsen, 72 in. x 72 in., in a museum quality exhibition frame. $50000/70000 Note: During the Battle of Secessionville on June 16, 1862 outside of Charleston, SC, the 47th

Georgia displayed courage and chivalry in turning the Yankee tide and saving the city from a Union onslaught. An article in the Charleston Mercury during that time stated that the “Ladies’ Charleston Association in aid of their volunteer soldiers presented four battle flags that they had prepared locally for the four Georgia units that had been called to Charleston during the crisis”. The 47th Georgia was one of those regiments along with the 46th Georgia, the 51st Georgia and the 32nd Georgia. The 47th Georgia was bloodied during the Battle of Chickamauga and Missionary Ridge as well as the Atlanta Campaign, and then consolidated with the 46th Georgia and was engaged in the campaign of the Carolinas under General Joseph Johnston. W denotes the lot is illustrated at



166 (1 of 2)

164. [Confederate Montgomery Note], $100, Confederate States of America, Serial #1604, T-3, Train at station, Montgomery, Alabama, issued June 21, 1861, one small 2mm punch cancellation, top right corner missing, bottom right corner reattached, some scattered stains mostly on reverse with light bleed to obverse, VG based on circulation.


$3000/5000 W 165. [Confederate Notes], $50,

Confederate States of America, T-6, dated August 28th, 1861, Serial #1661, Richmond, Ba. Pallas & Cerus, green FIFTY, two 4, punch cancels at top, four smaller 2mm punch cancels at bottom, about uncirculated with nice color., together with over 40 other Confederate and obsolete notes from Georgia, Tennessee, Alabama, North and South Carolina and Virginia, mounted on paper. $600/900


162. [Confederate Montgomery Note], $1000, Confederate States of America, Serial #381, Montgomery, Ala., Calhoun and Jackson vignettes, T-1, four 7 mm. cancellation holes, two smaller 4 mm. cancellation holes, partial cancellation punch at top margin, hammer cancelled, extremely fine with very slight traces of handling, dated June 17th, 1861, green stamp on verso Savannah, received April 21st, 1863, interest stamp with slight bleed to obverse, bright green and paper is very crisp.

163. [Confederate Montgomery Note], $500, Confederate States of America, Cattle at crossing/train, Montgomery, Alabama, dated June 28th, 1861, Serial #487, T-2, four 7 mm. punch cancellation at bottom, two smaller 4 mm. punch cancellations at top, hammer cancelled, green stamp on verso Savannah, received April 21st, 1863, interest stamp with slight bleed to obverse, about uncirculated.




166. [Daily Citizen Confederate “Wallpaper” Newspapers], two issues of the Daily Citizen, both printed on wallpaper, dated Tuesday, June 16, 1863 and Thursday, July 2, 1863; with all salient points, each with manuscript note, in ink, in top margin; respectively, “This paper was obtained during the Siege of Vicksburg from the enemys pickets by our sharp shooter in “exchange” during a midnight meeting near the spring”, signed F.A. Starring, Col. 72nd Ills. Infty; and “Received on night July 3rd from the enemys pickets in exchange for a “Tribune”, “Hard tack” and “Whiskey” by Major McKee”. $2000/3000

W 167. [Lincoln Assassination], “Programme of Procession to

Escort the Remains of President Lincoln from the Court House to the Funeral Train for Springfield”, 1865, silver print on black silk, listing the aides, pall bearers, marshals, Guard of Honor, military escort, Illinois and Congressional delegations, 10 1/2 in. x 8 in. $700/1000 W 168. A Group of Twenty Confederate Bonds, various

denominations and formats, extracted from a Civil War scrap book. $600/900 169. A Bound Collection of Manuscript Letters of the Civil War Period, inscribed “Letters / John Hickman / to / Gen. J. W. Phelps / 1861-64”, 105 letters on 114 folded sheets of bond paper (mostly from Philip & Solomons, Washington, D. C., with some from Mt. Holly Paper Co., Delarue & Co. London, P. & P., and a few other makers), in brown and blue inks, neatly numbered in pencil 130-243, all (save one) autograph letters signed by Congressman John Hickman of Pennsylvania (1810-1875), 6 January 1861 to 28 December 1864, and almost all inscribed by Brigadier General John Wolcott Phelps of Vermont (1813-1885) with the name of the sender and month of receipt, professionally bound in half leather with flowers, black panels, and gold stamping on spine, marbleized covers and endpapers, no title, all edges gilt, 8 1/2 in. x 6 1/2 in., octavo, each sheet opening to 8 in. x 9 3/4 in.

under General B. F. Butler: after a few months of precarious mail deliveries at Ship Island, he supported Commodore Farragut in forcing the mouth of the Mississippi and winning New Orleans (April 1862), whereupon Phelps became military governor of Louisiana until June. These letters, however (in addition to lighthearted queries asking “Do you get Yankee ice?” “in the vicinity of the Creole City,” where Phelps was headquartered at Carrollton) also record “a want of harmony between Genl. Butler and yourself” over the question of arming Black troops; he submitted his final letter of resignation in August, and Hickman delivered it officially to Edwin Stanton, Secretary of War. For the duration of this correspondence, from September 1862—the month of Lincoln’s preliminary Emancipation Proclamation—Phelps lived in bachelor retirement in Brattleboro. Because the first volume of this compilation is missing (its 129 folded leaves would have occupied a book almost exactly comparable to the 114 leaves in this one, since here several leaves are marked “½”), and the existing letters are silent on potentially helpful points, it is difficult to reconstruct what the basis for Hickman’s evidently intimate relationship with Phelps may have been. Both men were a few years on either side of 50 when these letters were written; Phelps was a soldier, and Hickman was married with “half a dozen daughters.” There was clearly a family connection: Wolcott’s elder sisters Helen (1805-1862) and Stella Phelps (1806-1862) lived in Alabama (Hickman asks after them on 24 February 1862), and one of his own daughters was even named after Stella; a pair of cousins (Col. Charles E. Phelps of Baltimore and his wife Lucy, named apparently after Wolcott’s mother, 1782-1830, or late sister, 1816-1833), were frequent visitors at West Chester, as for example at Christmas dinner in 1864.

Both men were certainly proud of each other: virtually every letter in this group refers to Phelps’ military and scholarly prowess; and he himself was a frequent visitor to the Hickmans, where the considerable standing $1000/2000 of a four-term Member of Congress could be counted upon Note: The writer, John Hickman, to accomplish many small legal was privately educated in and publishing favors for the Classics and English; he was often-absent soldier (such as admitted to the Pennsylvania bar Hickman’s successful negotiation in 1833, practiced in West of a Federal warrant for 160 Chester, and was the Chester 169 acres in Omaha, that Phelps had County District Attorney in despaired of securing). Above 1845-46. He was elected as a all, though, this wonderfully Democrat to the 34th, 35th, and warm and detailed 36th Congresses (U.S. House of correspondence is a tribute to two souls who were absolutely as one on the Representatives, 6th District of Pennsylvania), then as a Republican to the 37th question of slavery, and the need for its speedy abolition. This book contains the Congress; he was an active abolitionist, and in the third of his four terms belonged raw materials for at least several graduate studies, into one of the most intricate to the anti-slavery branch of the Democratic party. He was present for the third and fascinating periods of American history. session of the 36th Congress in January and February 1861, when this compilation opens; he went to his district during the special session of the House in March, A typical selection follows: but attended the first session in the summer, and the second session in the first “Seward is the bane of the nation, and should be borne from Washington on the half of 1862. He returned to Washington for three months in the winter of 1862back of a spavin’d mule to his rural retreat in New York. As a man he is a 63, and retired on 4 March 1863, to West Chester. coward—through and through; as a politician he is a humbug—a demagogue; The recipient, John W. Phelps (“Wolcott”), attended West Point in 1832-36, and and as a statesman he is an ass—a cursed ass. If Lincoln were not controlled by his rose rapidly from Second (1836) to First Lieutenant (1838) and Captain (1850) in wife, or if he had a thimble-full of brains, he would dispose of him before the set the Seminole and Mexican Wars. He resigned from the Army (largely as a result of of to-morrows sun. Thank God he can never be the Ruler of the nation. His history his extreme disappointment during the Mormon Expedition) in 1859, but in April has been written, and his doom is fixed. He rules the President, is in the keeping of 1861 he enlisted as a colonel in the Vermont militia (and is duly congratulated of a woman, is an essayist, a prig, a poltroon, and a cretin. If our liberties shall be by Hickman). He was reappointed to the U.S. Army as a Brigadier General in May lost, he will be the cause, and Lincoln the wretched instrument.” (30 May 1893, (“How does the generalship sit upon you?”), and was stationed at Newport News. fol. 210 B, r. & v.) During the following winter he was transferred to the Department of the Gulf W denotes the lot is illustrated at


171. A Large Archive of Confederate Martyr William B. Mumford, 1860s-1950s, hundreds of photographs and ephemera from Mumford, his family and later generations, including newspapers, tintype albums, CDVs, cabinet cards advertisements, presented loose and in albums. $3000/5000 Note: In a combined land and sea operation initially under the command of Commodore David Farragut and soon involving Gen. Benjamin F. Butler, Federal forces entered the mouth of the Mississippi River and assailed New Orleans, the largest city of the Confederacy, on 25 April 1862. Farragut sent a message from the Union fleet requesting Mayor John T. Monroe to remove the Confederate flags from the Custom House, Mint, and City Hall, as a sign of surrender. Monroe’s refusal caused Captain Henry W. Morris of the USS Pocahontas to send ashore an advance team of Marines, to physically remove the Southern flags and substitute Federal ones, while Farragut was still attempting to secure an official surrender from the mayor. As the Marines raised the American flag, an angry crowd gathered; they were warned that the Pocahontas would fire charges of grapeshot on anyone tampering with the Star and Stripes. Notwithstanding that warning, William Bruce Mumford (c. 1820-1862) and six other Confederate sympathizers (including C.S.A. Lieutenant N. Holmes, Sargeant Burns, and James Reed) tore down the Union flag from the Mint. Mumford cut a staff to drop it, and indeed the Pocahontas fired; a sliver of stone dislodged by the shot slightly wounded him, but he carried the flag through rebellious citizens to the mayor at City Hall. By the time he arrived the remnant was almost unrecognizable, and General Butler—who had declared that no activity in support of secession would be tolerated—was incensed:


I find the city under the dominion of a mob. They have insulted our flag— torn it down with indignity. …Both the perpetrators and abettors [will be punished] so that they will fear the stripes, if they do not reverence the stars of our banner. Historians argue that Butler’s recent clemency to a group of condemned Confederate enlisted men made his merciful resolution of the Mumford case impossible, lest the city interpret his weakness as a license for lawlessness. Butler took official control of the city on 1 May 1862, and Mumford was arrested for treason (despite his Union patriotism as a Union soldier during the Seminole and Mexican wars). On 30 May he was convicted by a military tribunal, sentenced on 5 June, and hanged “from a flag-staff projecting from one of the windows under the front portico” of the Mint, by now memorable as the scene of his crime, on 7 June 1862. He is buried in a vault at Cypress Grove Cemetery in New Orleans. On 18 June 1862 Thomas Overton Moore, the Confederate governor of Louisiana, declared Mumford a hero and a model. C. S. A. President Jefferson Davis, pointing out (as did Gen. Robert E. Lee) that the city was not yet in Yankee hands when the incident had occurred, issued a proclamation threatening Butler and his officers with death; but Gen. Butler eventually interceded for a job in Washington on behalf of Mumford’s widow Mary (c. 1825-1912).

171 (partial)

170. An Autographed Letter Signed from Jefferson Davis, dated April 6, 1889, relating his thanks to an author for sending a book; together with a signed presentation copy of Richard Hildreth, History of the United States of America, 1875, 3 vols., signed by Jefferson Davis, noting that he received them from General Jubal A. Early, and also signed by Varina J. Davis.

172. A Signed Robert E. Lee Carte de Visite Owned by Mary Mumford, Widow of Confederate Martyr William B. Mumford, Alexander Gardner backstamp, signed “Miss Mary Mumford” verso.


$3000/5000 Provenance: Descended in the family of William B. Mumford.





178 (1 of 2)

173. A Confederate Short Sword or Bowie Knife, 15-inch double-edged blade with spear point, 5 1/2 inch cross guard with downturned quillions, leather covered spiral grip. $3500/5500 174. A Sixth-Plate Daguerreotype of a Gentleman with an Underhammer Rifle, the nattily dressed gentleman with a top hat and holding an unusual underhammer rifle, with case. $1500/2000 W 175. A Group of Four Confederate Civil War

Battle and Signal Reports, manuscript documents including: report of Gen. Charles Clark to Maj. George Williamson, April 8, 1862, regarding Battle of Shiloh, 4 pages; Col. Robert Vance, 2nd Brigade to Major Bradford, A. A-Gen., Jan. 10, 1863, regarding Battle of Murfreesboro, 4 pages; Col. R. L. Gibson, 16th Louisiana, to Col. Hara, A. A-General regarding Battle of Murfreesboro, 3 pages; together with a one page signal report from the Battle of Second Manassas, Aug. 30, 1862, from Captain J.L. Bartlett, signal officer for Stonewall Jackson, (4 pcs.) $1000/1500


W 176. [Confederate

Imprints and Manuscripts], a group of 18 documents comprised of 2 broadsides, 9 partially printed documents and 7 manuscript letters; incl. a copy of a letter to President Jefferson Davis recommending Capt. John Shirley as a builder of ironclads, a Richmond Whig Extra celebrating the capture of Harper’s Ferry, several commissions and others. $700/1000 W 177. [Confederate

General CDVs], carte de visites of Generals J.E. B. Stuart and Dick Taylor, both with E. & H. T. Anthony backstamps. $600/900

178. A Signed Robert E. Lee Carte de Visite, Boude & Miley, Lexington, VA, blindstamp on mount, boldly signed, with inscription, verso, relating “Gen. Lee gave this picture a few days before his death...”; together with a later generation CDV of Lee with “S. Anderson, New Orleans” backstamp. $800/1200 179. A Fine Louisiana Confederate Kepi, c. 1862, “L.A. D’ H” on front, Louisiana pelican buttons, “Ft. Beauregard” written under hatband, presented in a custom Plexiglas case, with letter by noted Civil War expert R. E. Neville, dated 11/13/78, stating, in part “Here is what I have found on the “L.A. de H” kepi “Light Artillery de Houmas” organized in Houma in 1862 as a reserve artillery unit. Mustered into state service soon after organization, and were issued field pieces in New Orleans just prior to fall of city, probably moved to Camp Moore and mustered into C.S. service at that time...” $6000/9000 Provenance: A note accompanying the kepi relates that it was worn by Honoré Trahan from Lafayette, LA, referencing the Louisiana State Archives, Baton Rouge.

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180. A Fine Engraved Tranter Revolver Retailed by A. B. Griswold, New Orleans, serial # 21544, five-shot, double-action, checkered walnut grip, Birmingham proof marks on cylinder and barrel, NRA Very Good. $3000/5000 181. A US Model 1852 Naval Officer’s Sword, by Ames, Chicopee, MA, grip missing wire. $1200/1800


182. A Starr Percussion Carbine, 54 caliber, pat. 1858, inspector mark on breech, NRA Good-Very Good. $1500/2500 183. [Confederate Commission Signed by Louisiana Governor Moore], partially printed document appointing Lewis A. Evans Lieutenant in the Carroll Dragoons, March 3, 1862; signed by Moore, with paper stamp, sight 14 1/2 in. x 13 1/2 in., attractively matted and framed.


$1000/1500 W 184. [C.S.S. Alabama], Our Cruise in

the Confederate States’ War Steamer Alabama, The Private Journal of an Officer, from a supplement to the “South African Advertiser and Mail”, Cape Town, Saturday, September 19, 1863, printed by A. Schulze, London, 64 pages, with contemporary 1/2 leather and red cloth binding. $600/900 182


185. A Colt Model 1860 Army Revolver, 44-caliber, serial # 88299, military inspector’s cartouche on grips, NRA Fair. $1500/2000 183




186. An American German Silver-Mounted Ivory Naval Dirk, c. 1800, 6 1/4 inch blade, ivory handle, integrally made blade and guard. $1000/1500



187. A Winchester Model 1873 Lever Action Rifle, 3rd model, octagonal barrel, 32-20 caliber, serial # 213534B, lock needs adjustment, NRA Good. $1200/1800 188. A Colt Model 1862 Police Revolver, serial # 1247, 5 1/2 inch barrel, five shot, remnants of silver-plate, NRA Very Good. $1500/2000 192 189. An American Silver-Mounted and Ivory Naval Dirk, c. 1800, 10-inch blade, with sterling silver scabbard and ivory handle. $1000/1500

W 191. A Colt Model 1849 Pocket Revolver, serial # 216068, 5-inch barrel, six

shot, NRA Good. $600/900

W 190. A Colt Model 1849 Pocket

Revolver, serial # 237797, 6-inch barrel, six shot, NRA Very Good. $800/1200

192. After George Caleb Bingham (American, 1811-1879), “The Jolly Flatboatmen”, engraving by T. Doney, 1846, printed by Powell and Company, published by American Art Union, New York, sight 22 5/8 in. x 26 in., in an antique giltwood frame. $2000/3000 W denotes the lot is illustrated at


194. [Naval History], manuscript and illustrated document, by John Thomas Newton, Commander of the Home Squadron, U.S. Navy, 18521855, eleven pages, 7 1/8 in. x 5 in., illustrating, in great detail, the flag signals used by the ships Columbia, Princeton, Cyane, Albany, Decatur and Fulton, mounted on paper, 15 in. x 11 in., extracted from a 19th c. scrap book. $700/1000 Note: The Home Squadron, part of the U.S. Navy, was organized in 1838. Its ships were assigned to protect coastal commerce, aid ships in distress, suppress piracy and the slave trade and make coastal surveys. It was discontinued after the outbreak of the Civil War, when the Union blockade forced a reassignment of ships to close off Southern ports. John Thomas Newton (1793-1857) was appointed in 1809 as a midshipman. He served on the Hornet and commanded the steamers Fulton and Missouri and the navy yard in Pensacola, FL He became flag officer and commodore of the Home Squadron from 18521855 and commanded the navy yard in Portsmouth, NH, from 1855-1857.


194 (partial)

193. [Pocket Map with Texas], “Map of Mexico, including Yucatan & Upper California, exhibiting the chief cities and towns, the Principal Travelling Routes & c.”, 1847, handcolored engraved pocket folding map, by S. Augustus Mitchell, Phila., with an inset map showing the battlefield of Monterey, sheet 18 in. x 26 in., matted and framed. $1500/2500



195. A Maritime Collection of Sea Captain Ebenezer Andrews, comprising a c. 1800 wood and brass four-draw telescope, engraved “Ebenezer Andrews”; a leather fire bucket, with green and yellow paint, marked “E. Andrews/ 1829” and a book The Seaman’s Complete Daily Assistant, and New Mariner’s Compass..., by John Moore, 1800, signed by Captain Ebenezer, with numerous doodles and calculations in the endpapers and margins. $1000/1500 Note: From a note accompanying the items, “Captain Ebenezer Andrews, born in 1790, was an old East India captain having sailed his clipper ship around the Horn many times in the China Trade. He also owned the Whaleship Gold Hunter launched in 1832, the first whaling craft to set out from Fall River, Mass., then known as Troy. He built and sailed the Brig Columbia, launched in 1830 at Berkley Bridge in Fall River.”


196. [Color Plate Bird Books], A History of British Birds, by Rev. F. O. Morris, 1870, six volumes, published by Bell and Daldy, London, three-quarter leather bindings, with 365 handcolored plates, note: one volume in poor condition; together with Portraits and Habits of Our Birds, 1920, two volumes, cloth, edited by Pearson, published by National Association of Audubon Societies, NY, with illustrations by Louis Agassiz Fuertes and others. $500/700


197. After John James Audubon (American, 1785-1851), “Roseate Spoonbill”, No. 65, Plate CCCXXI, hand-colored aquatint engraving, Havell edition, from Birds of America, the elephant folio paper watermarked “J. Whatman / 1836”, sheet size 25 in. x 37 3/4 in., matted and framed. $60000/90000 Provenance: The Downing Home, Brewton, AL.

198. Thomas Bigelow Craig (American/New York, 18491924), “Scene Along the Susquehanna River”, oil on canvas, signed lower left, 24 1/8 in. x 42 1/8 in., in a period giltwood frame with brass artist’s plaque. $4000/6000 Provenance: Descended in the family of Berthe Marie Olivier de Vezin de Tarnowsky (b. 1882) of New Orleans. Note: Philadelphia-born artist Thomas Bigelow Craig, who was largely self-taught, exhibited at the National Academy of Design for forty-five years. His works include many scenes of the Northeast, particularly the White Mountains of New Hampshire. Craig’s works often depict pastoral landscapes and include cattle and waterways, both of which feature prominently in the current lot. However, the inclusion of the bridge, trees, mountains, and the road with a solitary figure make this painting one of Craig’s most complex and intriguing.


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200. An American Federal Carved and Inlaid Mahogany Chest of Drawers, c. 1810, School of John and Thomas Seymour, Boston or North Shore, MA, top with outset corners and opposing lunette inlaid banding, reeded stiles, four graduated drawers with figured mahogany veneers and mahogany crossbanding, raised on turned legs, suppressed ball feet, original hardware, height 40 in., width 42 1/2 in., depth 22 in.




199. Andrew John Henry Way (American/ Baltimore, 1826-1888), “Still Life with Pearls, Portrait and a Vase”, oil on canvas, signed lower right, stamped “Kellinger McCoy...Baltimore” en verso, “A. Miller”, New York label affixed to frame, 16 1/8 in. x 12 1/8 in.

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

$5500/7500 Note: Andrew John Henry Way began his career as a portraitist, but under the influence of artist Emanuel Leutze, decided to devote himself entirely to still-life painting, for which he quickly “acquired a reputation for his adroit rendering of various species of fruit”, among other subjects. With careful, scientific precision, lustrous palette and dexterous handling of the reflective qualities of light, Way’s pursuit of art in the Dusseldorf style of still-life painting was so successful that he became one of the most beloved and sought-after of Baltimore’s mid-century artists.


Reference: Johnston, William R. “American Paintings in the Walters Art Gallery.” Magazine Antiques, vol. 106, Nov. 1974.


Note: The finely figured veneers, sophisticated rail terminal, and precise construction of this bed are indicative of the workshop of Duncan Phyfe. A méridienne ordered from Phyfe by Samuel Foot in 1837 and now in the Metropolitan Museum of Art is a well documented example of Phyfe’s Restauration period and shares many attributes with the lot offered here. Reference: Tracy. 19th Century America, Furniture and Other Decorative Arts, fig. 79.


202. An American Classical Mahogany Work Table, c. 1825-1830, attributed to Anthony Quervelle, Philadelphia, crossbanded lift top, acanthus-carved corners, a pair of bolection molded drawers, gadrooned skirt, acanthus carved stem, foliate collar, incurvate plinth, acanthus paw feet, casters, original pressed glass pulls, height 29 1/2 in., width 21 in., depth 15 in. $3000/5000 Reference: Boor, Philadelphia Empire Furniture, p. 270, fig. 134.



203. An Important American Classical Carved Mahogany Work Table, c. 1830, labeled by Charles H. White and John F. White, Philadelphia, gadrooned lift top enclosing work compartment, bolection molded drawers, foliate acanthus and bead-carved stem, anthemion collar, incurvate plinth, acanthine paw feet, scroll brackets, casters, in darkened original finish, height 29 in., width 22 in., depth 16 in.


$3000/5000 Note: Charles and John White operated a cabinet shop at 109 Walnut Street in Philadelphia from 1828 until 1851, in close proximity to the shop of David Fleetwood (95 Walnut Street). Interestingly, the carved support on this table has upswept foliage, an inversion of the more often seen “spouting fountain” supports from many Philadelphia cabinet shops, including that of Anthony Quervelle. Reference: Boor. Philadelphia Empire Furniture, p. 278, fig. 139.

204. A Fine American Classical Figured Mahogany Sécrétaire à Abattant, early 19th c., attributed to Duncan Phyfe, New York, having a marble top, paneled fall front lid with inset baize writing surface, interior fitted with shelves and drawers, flanked by side cupboards and blocked pilasters; the base with a pair of large crossbanded doors, shelf interior, conforming pilasters, molded base, height 60 3/8 in., width 53 1/4 in., depth 18 3/8 in.


$10000/15000 Provenance: Acquired from Carswell Rush Berlin, Inc., New York; ex-collection of the Great-Great Grandson of Admiral Raphael Semmes. Note: This monumental desk is indicative of the furniture emanating from the Phyfe workshop 1815-1830. The architectonic form, marble top, fine veneers, finely executed cabinetry and refined mounts seen in this desk are similar to those used in the Livingston Family Secretary now on loan to the Metropolitan Museum of Art (L.909.2) and a fall front desk attributed to Phyfe and discovered by Stuart Feld. Reference: Feld. Of the Newest Fashion, Masterpieces of American Neo-Classical Decorative Arts, p. 46-47, cat. 14; Feld. Ibid, p. 17, fig. 7.

205. An American Classical Carved Mahogany Center Table, early 19th c., attributed to John Needles, Baltimore, segmented flame veneered top over bulbous ring-turned stem, reeded legs ending in brass paw feet, casters, height 29 in., diameter 42 in. $2500/3500 Note: The segmented top, massive ring turned support and boldly reeded outswept legs on this table are similar to several well known Baltimore examples, including a table from the Colwill collection exhibited by the Maryland Historical Society and a table sold by Neal Auction Company as lot 248 on April 18, 2009. The lower portions of these Baltimore tables were called “pillar and claw” form by contemporary purveyors. Reference: Weidman, et. al. Classical Maryland 1815-1845, p. 128, fig. 155

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206. A Fine American Classical Highly Carved Mahogany Tester Bed, early 19th c., stepped tester, boldly carved acanthus and pineapple posts, shaped headboard, bracketed rails, brass ball feet, height 110 1/2 in., length 82 1/2 in., width 52 3/8 in. $10000/15000


Note: The tester, finely carved posts, and brass ball feet on this bed are typical of those found in Lower Mississippi Valley plantation houses in the 1830s and 1840s. A Classical mahogany tester bed from the collection of Dr. George Crozat, very similar to the lot offered here, was sold by Neal Auction Company from Houmas House (Darrow, Louisiana) May 17, 2003, lot 483. Another related bed was sold in these rooms as lot 403, June 27, 2009.



207. A Fine American Late Federal Mahogany Chest of Drawers, early 19th c., attributed to Nathaniel Appleton (Salem, active 1806), rectangular top, two outset short drawers over three long drawers flanked by reeded colonnettes, baluster-turned legs with acanthus collars, toupie feet, pine and poplar secondary wood, original gilt brass pulls, height 41 in., width 42 1/2 in., depth 20 in. $8000/12000 Provenance: Acquired from Didier, Inc., 2008; ex-collection of the Great-Great Grandson of Admiral Raphael Semmes. Note: The reeded stiles, case form and pulls seen on this chest are very similar to those on a mahogany chest attributed to Nathaniel Appleton which is illustrated in Kimball, “Salem Furniture Makers”, Magazine Antiques (September 1933), p. 91; and Randall, “Works of Boston Cabinet Makers”, Ibid (February 1962), p. 189, fig. 5. In 1807 Samuel Field McIntire (Salem 17801819) billed cabinetmaker Jacob Sanderson for “reeding & carving 4 legs”, (1) evidence of specialization in the Salem furniture trade also apparent here on this lot. The fine acanthus carved front legs on this chest are similar to those from McIntire illustrating a known relationship between the Appleton and McIntire workshops, as a secretary conserved by Salem’s Essex Institute and attributed to Appleton features carved ornament by McIntire (2).


208. A Late Federal Maple-Inlaid Cherrywood Chest of Drawers, c. 1820, bowfront top with turreted corners, turned stiles, four graduated drawers, shaped apron, baluster legs, suppressed ball feet, height 38 1/8 in., width 43 in., depth 21 3/8 in.

209. Attributed to Joseph Rusling Meeker (American, 1827-1889), “Realm of the Owl”, oil on canvas, unsigned, with a partial Vose Galleries, Boston, and two Christie’s labels en verso, 25 3/4 in. x 35 3/4 in., in a giltwood frame.



Reference: (1) Swan, “A Factual Estimate of Samuel McIntire”, Samuel McIntire: A Bicentennial Symposium 1757-1957, p. 94; (2) Bjerkoe, Cabinetmakers of America, p. 29. See also Sack, American Antiques in the Israel Sack Collection, Vol. VIII, 1986, p. 5581.

W denotes the lot is illustrated at



210. American School/New Orleans, mid-19th c., “A New Orleans House and Grounds, probably on Esplanade Ridge”, c. 1860, oil on canvas, unsigned, 19 3/4 in. x 24 1/2 in., in a giltwood frame.

house of 1859 near Georgetown, KY, flattens out the façade, but for the first time divides its identical fenestration with exactly the paired columns in the syncopated rhythm that we see in this painting.


An identical paired columniation (as square one-story shafts on two levels) stretches across the superimposed galleries of the house at 2257 Bayou Road, New Orleans - at the corner of Esplanade and Tonti – built in 1859 for Nicholas Benachi and Anna Marie Bidault, and purchased in 1886 by Peter Torre. In almost every way (but absent the superimposed, recessed porches) it is a virtually perfect prototype for this painting: its very deep lot of 540 feet would have provided ample room - in place of the school buildings documented there - for the depicted stables (a restored version of which survives behind the Leathers house of 1859, at 2027 Carondelet Street). The fountain in front still exists; and a small Creole cottage survives at 3330 Esplanade, absolutely identical to the two outbuildings in the foreground of the picture. Even the narrow waterway seems to be recalled by the Carondelet Canal in Tremé, widened in 1828, and filled in as Lafitte Avenue in 1917.

Note: This rare and arresting image shows an appealing blend of naïveté and sophistication. On the one hand, its discrepancies of figural scale are striking: the verandas of the outbuildings and the steps of the main house are painted in approximately the same plane, and thus roughly at an equal distance; yet the master and mistress behind the front railing are only half as tall as the corresponding figures in the lateral positions, and indeed they are smaller than the groom in the door of the stable building at the left, well behind the house. On the other hand the residence itself is depicted (albeit with an invisible roof) not only in the very latest fashion, but in many ways exceeding it. The ancestry of a two-story cubic block with superimposed, recessed central loggias goes back at least as far as Andrea Palladio, in his designs with single-bay “wings” of the Palazzo Antonini at Udine (1550), and Villas Cornaro at Piombino (1551) and Pisani at Montagnana (1552) - the latter being especially relevant in having only four columns, instead of six, displayed across the loggie. Inigo Jones’s 1616 design for the Queen’s House, Greenwich, again adds another pair of columns in the upper loggia (the only one recessed), and an extra window in the wings. The transition from that Palatine prototype to American civic architecture and to this design in particular - was accomplished by Pierre Charles L’Enfant’s remodeling of Federal Hall in New York (1789), the site of Washington’s inauguration: again only the upper loggia is recessed, and the wings have two bays; but the four columns are set (as here) within the loggia, and strip pilasters bound the entire façade. The overall shape and proportions of this house are very closely prefigured in William Strickland’s Belmont, near Nashville, of c. 1850, with the single exception that giant columns rise through both porches to the roof, as do also the bounding pilasters; but the wings have again only one bay, and the superimposed loggie have the depth of a full room. This last characteristic is reduced (again in the presence of giant columns and pilasters) in George Polk’s house of the 1840s, at Oakwood Hall (“Rattle and Snap”), Maury County, TN; while the Junius Ward


An important clue to the anonymity of the Benachi-Torre house is provided by the complete documentation of the house built in the same year of 1859 for Cyprien Dufour (and owned between 1869 and 1912 by the Baldwin family) at 1707 Esplanade, a mere five blocks away. The great Henry Howard of Ireland (18181884) was the architect, and this was his “last great and elegant mansion” [Christovich, Evans and Toledano, New Orleans Architecture, vol. 5: The Esplanade Ridge, Gretna, 1977, pp. 89-92]. Once more the façade is in one plane, but the same superimposed columns, in the same proportions, march in syncopated pairs across both upper and lower galleries. If this “trademark motif” of Howard’s were to be grafted onto the plan shared by Palladio, Jones, L’Enfant, and especially Strickland (which Howard could certainly have accomplished), the elevation depicted in the present painting would result. The nature of this picture seems mysterious: it could be an ideal view, rendering a proposed façade elevation from Howard’s office in detail, perhaps following the popularity of the views of Marie-Adrien Persac (1823-1873), who was especially active in this same decade of the 1850s. It stands as one of the memorable images of Louisiana architecture and town planning on the very eve of the Civil War.

211. American School, earlyto-mid 19th c., a pair of oils on canvas, including “A Boy with a Fishing Pole” and “A Boy with a Hobby Horse”, each unsigned, 23 in. x 18 3/4 in. and 22 3/4 in. x 18 3/4 in., respectively, in matching period carved, gessoed and giltwood oval frames. $4000/6000 Provenance: Kirkwood Mansion, Eutaw, Alabama.


212. George Louis Viavant (American/New Orleans, 18721925), “Nature Morte: Green Headed Mallard Duck”, watercolor, signed and dated “1924” lower left, sight 27 in. x 18 in., in a period frame. $15000/25000 Note: ‘Inspired by the bayous, marshes, and lagoons of Southern Louisiana, artist George Louis Viavant (1872-1925) produced exquisite paintings of the birds, fish, and small game that he knew so well from years spent hunting on his family’s property just outside of New Orleans’, George E. Jordan, in George L. Viavant, Artist of the Hunt. Published by The Historic New Orleans Collection, 2003.



213. After John James Audubon (American, 1785-1851), “Gold-Winged Woodpecker”, Plate XXXVII, hand-colored aquatint engraving, Havell edition, from Birds of America, the elephant folio paper watermarked “J. Whatman/ Turkey Mill/ 1832”, sheet 38 in. x 24 1/2 in. $5000/7000

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215. After John James Audubon (American, 1785-1851), “White Breasted Black-Capped Nuthatch”, Plate CLII, hand-colored aquatint engraving, Havell edition, from Birds of America, the elephant folio paper watermarked “J.Whatman/ 1832”, sheet 38 1/4 in. x 26 in., matted and framed. $2500/3500

216 214



216. After John James Audubon (American, 1785-1851), “Red-Headed Woodpecker”, Plate XXVII, hand-colored aquatint engraving, Havell edition, from Birds of America, the elephant folio paper watermarked “J. Whatman/ Turkey Mill/ 1827”, sheet 37 in. x 25 3/4 in., matted and framed. $4000/6000

214. After John James Audubon (American, 1785-1851), “White Crowned Pigeon”, Plate CLXXVII, hand-colored aquatint, Havell edition, from Birds of America, the elephant folio paper watermarked “J. Whatman/ 1837”, sheet 33 3/4 in. x 26 in. $5000/7000


217. John James Audubon (American, 1785-1851), “Great Footed Hawk”, plate 16, hand-colored aquatint engraving, Havell edition, from Birds of America, the elephant folio paper water marked “J. Whatman/1836”, sheet 25 1/4 in. x 38 1/2 in. $2500/3500



218. After John James Audubon (American, 1785-1851), “Canada Jay”, Plate CVII, hand-colored aquatint engraving, Havell edition, from Birds of America, the elephant folio paper watermarked “J. Whatman/ 1831”, sheet 38 in. x 25 in. $5000/7000 219. George Louis Viavant (American/New Orleans, 1872-1925), “Green-Winged Teal”, watercolor on board, signed, dated “1916” and inscribed “N.O.” lower left, 22 1/2 in. x 14 1/2 in., matted and framed. $15000/25000 Note: A green-winged eal in a similar pose is illustrated on the cover of George E. Jordan, George L. Viavant, Artist of the Hunt, Historic New Orleans Collection, 2003. 220. George Louis Viavant (American/New Orleans, 1872-1925), “Nature Morte: Squirrel”, watercolor on paper, signed, dated “1913” and inscribed “N.O.” lower left, sight 23 3/8 in. x 15 1/2 in., matted and framed. $2500/3500


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221 (detail)

221. An American Late Federal Inlaid Mahogany Cylinder Desk, early 19th c., Baltimore, the eagle inlaid cylinder lid enclosing a fitted interior with arched niche, inlaid drawers and pull out baize lined writing surface, three drawers below, shaped apron, “French” feet; “estate” condition, height 49 3/4 in., width 44 3/4 in., depth 22 1/2 in. $3000/5000 Note: An c. 1810 inlaid mahogany desk with similar cylinder top, eagle inlay and feet and apron to the lot offered here is in the Antiquarian Society Collection and illustrated as a “Masterpiece” example in Sack. The New Points of Furniture: Early American p. 164. A miniature cylinder desk from Maryland or Pennsylvania with similar shell inlay, cylinder top, shaped skirt and feet to those on this lot is part of the Winterthur collection (acc. 58.2057). A Baltimore inlaid mahogany table with nearly identical skirt and foot configuration to those seed here is conserved by the Maryland Historical Society (acc.79.46.8) Reference: Montgomery. American Furniture of the Federal Period. p. 238, fig 197. Weidman. Furniture in Maryland 1740-1940. p. 135, fig. 95.



222. An American Late Federal Cherrywood and Tiger Maple Jackson Press, c. 1830, raised gallery back, two drawers over doors flanked by engaged columns, bulbous 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 chest 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 common 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 223. An American Federal

Walnut Slant Front Desk, late 18th/early 19th c., fall-front lid enclosing fitted interior of drawers, cubbyholes and prospect door, three graduated drawers, shaped base, “French” feet, height 45 in., width 37 in., depth 21 in.


$800/1200 224. An American Federal Cherrywood Tall Chest, early 19th c., Pennsylvania, cove-molded cornice above three frieze drawers flanked by blocked panels over turned and reeded stiles flanking five graduated drawers, ring turned legs, height 64 in., width 44 in., depth 21 in. $3000/5000



227. An American Walnut Sugar Chest, c. 1830, Tennessee, hinged lid, dovetailed case, bead and lozenge molded stand with single drawer, on ring-turned tapered legs, height 31 in., width 28 1/2 in., depth 16 in. $2500/3500 Note: A cherrywood sugar chest from Davidson County, Tennessee, with similar proportions, dovetail case and stand with drawer and turned legs is illustrated in McPherson. “That Article of Household Furniture Peculiar to Earlier Days in the South”, Journal of Early Southern Decorative Arts (Winter 1997), p. 27, fig. 13. W 228. An American Classical Birdseye and Tiger Maple

Side Table, 19th c., square plank top, a single apron drawer inlaid “P & P”, square tapered legs, height 22 1/2 in., width 18 7/8 in., depth 19 3/8 in. $400/600 W 229. John Gould (English, 1804-1881) and Henry


225. An American Late Federal Red Painted Double-Sided Clerk’s Desk, c. 1800, hinged slant lids, open interior, molded skirt, square, tapered legs, in old red paint; bearing collection accession number 87.2.5, height 49 in., width 61 1/4 in., depth 52 in. $600/900 226. An American Federal Mahogany Dressing Bureau, early 19th c., School of Samuel Field McIntyre, Salem, Massachusetts, bowfront case with two drawer superstructure, four long drawers flanked by finely carved leaf and pineapple headed spiral colonettes, on ring-turned tapered legs, ball feet, underside of upper right drawer inscribed “Lowell Street Peabody”, height 46 1/2 in., width 43 in., depth 21 in.

Constantine Richter (English, 1821-1902), “Buphus Comatus”, hand-colored lithograph, sight 15 in. x 21 in., matted and framed. $200/400 W 230. John Gould (English, 1804-1881) and Henry

Constantine Richter (English, 1821-1902), “Amazila Yucatanensis”, hand-colored lithograph, heightened with gum arabic, sight 19 1/4 in. x 12 1/4 in., matted and framed. $200/400


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W 233. After

John Gould (English, 18041881), pair of hand-colored lithographs of toucans, “Ramphastos Bervaricarinatus” and “Ramphastos Ambiguus”, each 20 in. x 14 in., matted and framed. $700/1000 W 234. A Pair of



Paris Porcelain Polychrome and Gilt Jardinières, mid19th c., raised gilt cartouches with black ground, floral sprays throughout, reeded band with lion’s mask handles, drilled, height 7 in., width 8 5/8 in. $500/750 W 235. An English

Copeland and Garrett Gilt and Polychrome Oblong Dish, c. 1840, peach border with painted feathers and molded foliage, central reserve with colorful birds, marked, length 10 1/8 in. $150/250



236. A Pair of English or American Gothic Revival Gilt Brass Altar Candlesticks, mid-19th c., of architectural form with pinnacles, quatrefoils, and arches, height 28 in., base diameter 7 in. $700/1000

231. After John James Audubon (American, 1785-1851), “Canada Warbler”, Plate CIII, hand-colored aquatint engraving, Havell edition, from Birds of America, the elephant folio paper watermarked “J.Whatman/Turkey Mill/ 1833”, sheet 38 in. x 25 3/8 in.

232. After John James Audubon (American, 1785-1851), “Towee Bunting”, Plate XXIX, hand-colored aquatint engraving, Havell edition, from Birds of America, the elephant folio paper watermarked “J. Whatman/ 1834”, sheet 37 1/2 in. x 25 3/4 in.




237. A Pair of English or American Gothic Revival Gilt Brass Altar Candlesticks, en suite with preceding lot. $700/1000

W 238. A Paris

Porcelain and Gilt Bronze Tazza, 19th c., the shallow bowl centered by a rosette, the bulbous stem painted with colorful flowers and foliage outlined in gold, on a circular foot, height 7 in., diameter 6 7/8 in.


$300/500 239. A Good Marc Schoelcher Paris Porcelain Gilt and Polychrome Footed Bowl, c. 1825, apple green border with gilt floral bands, the exterior with opposing hand-painted birds “le tricolore” and “le bleuex”, height 4 1/2 in., diameter 8 1/2 in.




243. An English Calamander Wood and Brass Inlaid Nécessaire de Toilette, 19th c., the fitted interior retaining finely engraved sterling silver lidded cut glass bottles, hallmarked TW, possibly Thomas Wimbush, London, 18601861; the case fitted with blind drawer, top with inset brass medallion, the case with stringing and banding, height 6 3/4 in., width 12 1/8 in., depth 9 in. $1000/1500

240. A Good Paris Porcelain Reticulated Corbeille and Attached Underplate, early 19th c., with blue cornflower decoration and gilt banding, height 7 1/4 in., diameter 10 in. $500/750 241. A Sèvres-Style Gilt and Polychromed Porcelain Partial Tête-a-Tête Service, mid-19th c., consisting of coffee pot, covered sugar, tray, 2 cups and saucers, reserved with scenes from Napoleon’s life and campaigns, dark green, heavily gilt with trophies and laurel branches; together with 2 early 19th c. gilt-decorated Paris porcelain soup plates reserved with classical figures, diameter 9 in. (9 pcs.)


W 244. A Georgian Brass Banded Mahogany Peat

Bucket, 19th c., with brass handle and liner, height 13 3/4 in., length 10 1/2 in., width 13 1/4 in. $300/500

$800/1200 W 245. A Pair of Georgian Sheffield Plate Telescopic W 242. A Pair of Paris Porcelain Fluted Shell-Form Dishes, mid-

19th c., claret border with gilt scrolls and accents, length 9 3/4 in; together with a pair of antique gilt and polychrome fish plates, blue rim, handpainted central reserves of fish named on reverse, diameter 9 3/8 in.

Candlesticks, 19th c., circular bases and shafts with gadrooned borders, adjustable shaft, weighted, height 9 in. to 10 3/4 in. $300/500

$200/400 W denotes the lot is illustrated at


249. An American Classical Gilt Brass and Bronze FourLight Camphene Chandelier, c. 1845, attributed to Michael Dyott, Philadelphia, foliate corona issuing links of chain, fluted central column encircled by three graduated tiers hung with crystal prisms, the foliate scrolled branches issuing circlets containing fonts and retaining original wick burners and period blown, etched and cut glass shades, the bowl ending in a bud pendant, height 37 1/2 in., diameter 29 in. $5000/7500 W 250. A Pair of


247 (2 of 4)

246. A Georgian Sheffield Plate Tea Urn in the Neoclassical Taste, early 19th c., urn-shaped body on a square pedestal base, fitted with inner tube for charcoal and hatch under the base for removing ashes, bright-cut rosette border in circular reserves, reeded lower body and lid, vented ball finial which pulls up, acanthus decorated ring handles, the stepped base raised on ball feet, engraved with script monogram “B”, height 19 1/2 in., width 9 1/2 in.


$500/750 W 251. An Antique

Hand-Colored Map of England, 18th c., by Janson, showing the counties of Cumbria and Westmorland, sight 17 1/4 in. x 21 3/4 in.



247. A Group of Four French Hand-Colored Engravings of the Four Seasons, late 18th c., idyllic scenes of country life set within floral scrollwork borders, sight 20 3/4 in. x 30 in., in matching later frames.

W 252. Two Large



W 248. Two Georgian Silk and


William IV-Style Patinated Bronze Portico Lanterns, each of cylindrical form surmounted by bud finials, each containing four etched glass panes, height 30 in., diameter 15 1/4 in.

Wool on Silk Oval Embroideries, late 18th c., each depicting a lady in a landscape setting, a variety of stitches in plain and chenille threads, some painted areas, sight 7 1/2 in. x 6 1/4 in., in giltwood frames. $400/600

Brass-Mounted Cut Glass Inkwells, late 19th c., possibly Baccarat, simple prism cuts, height 4 1/4 in. and 5 in.

W 253. Two Anglo-Irish Cut Glass

W 262. A George III Sterling Silver

Tumblers, c. 1820, height 3 1/4 in., diameter 3 1/8 in.; together with a similar starburst and diamond cut glass decanter with associated stopper, height 9 3/8 in.

Teapot, maker SH, possibly Samuel Hennell (ent. 1811), London, 1812, oval, lid with flush hinge, turned bone finial and handle, height 4 1/2 in., width 9 in., approx. weight 10.50 troy ozs.



W 254. An Anglo-Irish Cut Glass

263. An Edwardian Sterling Silver Punchbowl, Oldfields Ltd. (wc. 19021933), Birmingham, 1909, with molded shell and scroll rim, molded foot, height 9 1/2 in., diameter 12 in., weight 73.8 troy ozs.

Water Pitcher, c. 1820, the body with bands of strawberry diamonds and other geometric designs, central panel with engraved griffin over monogram, height 7 3/8 in.




W 255. A Group of

Twelve Blown Glass Goblets, mid19th c., with panelcut bowls and teardrop stems, consisting of five water goblets and seven port glasses, heights 6 1/2 in. and 5 1/2 in., diameters 3 1/4 in., and 2 3/4 in., respectively.

264. A George IV Sterling Silver Tea Service, maker TB, possibly Thomas Barker, mark ent. 1805 (Grimwade 2697), London, 1824, comprised of a teapot, sugar and creamer, each with gadroon and shell border, gadrooned lower body and lion head and paw feet, combined weight approx. 36 troy ozs.


$300/500 W 256. A Group of Seven Blown and


Etched Glass Water Goblets, mid-19th c., Greek key design border at rims, height 6 in.

W 265. An Antique Regency-Style


Silverplate Plateau, 19th c., rectangular with gadrooned edge, mirror plate, molded frame, raised on four ball feet, hardwood base, height 2 1/4 in., width 14 1/4 in., depth 11 1/2 in.

W 257. An English Blown and Cut Glass

Celery Vase, mid-19th c., flared rim above a panel-cut and circle-decorated body, height 8 in., diameter 5 1/8 in.



W 266. An English Sailor’s Woolwork, early

19th c., depicting a British ship in a field of flags above the white rose of England and surmounted by a crown, sight 15 1/2 in. x 19 in.

W 258. An English Etched Glass Pitcher,

Greek key design, height 9 1/4 in.; together with two panel-cut glass carafes, mid-19th c., heights 5 1/2 in. and 6 in.



W 267. A Regency Gilt and Patinated

Bronze Double Argand Lamp, early 19th c., retailed Alfred Wells, Boston, each burner labeled “Messenger & Sons/63 Hatton Garden, London”, electrified, later etched and cut glass shades, height 15 in., width 17 1/2 in.

W 259. A Pair of English Amber Pressed

Glass Lidded Urns, 19th c., allover diamond pattern, tapered bodies on square bases, height 15 1/2 in., diameter 6 in.



$200/400 W 260. A Set of Four Mason’s Patent

Ironstone China Graduated Platters, c. 1825, in the “Blue Pheasants” pattern, blue-onwhite, transfer-printed chinoiserie bird and flower pattern, marked, largest length 21 in., width 16 3/4 in. $600/900

W 261. A Pair of Antique

English Silverplate ThreeLight Candelabra, each in two pieces, with bobêches and removable flame finial, weighted, height 18 3/4 in.

268. An Antique American Carved Wood Figure of Benjamin Franklin, on a stepped base, height 19 1/2 in., width 7 in., depth 5 in. $2500/3500

$500/750 W denotes the lot is illustrated at


270. An American Classical Carved and Stenciled Mahogany Sideboard, early 19th c., attributed to Anthony Quervelle, Philadelphia, pedimented, corbelmounted mirror back flanked by pierced scrolls; marble top over a slide, a long drawer, gadrooned molding, arched center niche flanked by bolection molded drawers, over paneled doors, acanthus carved Ionic columns, plinth base and acanthine paw feet, original stenciling throughout, height 61 in., width 77 in., depth 22 in. $6000/9000


271 (alternate view)

Note: The sideboard offered here has many similarities in overall form and ornamental detail to those on a sideboard by Anthony Quervelle conserved at Winterthur, including the bolection molded drawers, identical carved capitals and carved paw feet. The carved brackets, drawers, cabinet doors, and cellarette well on this lot are all very similar to those on two “Brake Center” sideboards in the Anthony Quervelle Sketchbook conserved at the Philadelphia Museum of Art. Reference: Smith. “The Furniture of Anthony G. Quervelle, Some Case Pieces” Magazine Antiques (January 1974), p. 186, pl. 1. Boor. Philadelphia Empire Furniture, pp. 102103, sketch 9-10.

271. An American Chippendale Mahogany “Fly” Tilt Table, late 18th c., Rhode Island, circular dished top, vasiform stem, arched acanthuscarved legs ending in ball and claw feet, height 30 1/2 in., diameter 23 1/2 in. $3000/5000 Note: The circular dished top, “fly” tilt mechanism, columnar and twist-urn support and the ball and claw legs on this lot are similar to those on the James Atkinson table by Newport joiner John Goddard (1723– 1785).


W 269. An Antique Carved Giltwood Eagle Architectural Element, 19th c., possibly from a lodge, fully

spread wings and perched on a rocky outcropping, flat back, height 38 in., width 24 in., depth 5 in. $600/900


Reference: Kane. ”The Palladian Style in Rhode Island Furniture: Fly Tea Tables,” American Furniture Chipstone Foundation (1999) p. 1, fig 1. http:// ons/1999AF/1999Kane/1999 kaneIndex.html



272. An American Carved and Giltwood Looking Glass, c., 1830, divided mirror plate, half-round rope twist stiles with acanthine collars, blocked rosettes below a molded cornice, height 46 1/2 in., width 26 in. $600/800 273. William Aiken Walker (American/ Charleston, 18381921, active New Orleans, 1876-1905), “Cotton Pickers”, oil on board, signed lower left, 6 in. x 12 1/8 in., in a period frame. $15000/25000


Note: To be included in John Fowler’s forthcoming catalogue raisonné.

274. Alfred Heber Hutty (American/Charleston, 1877-1954), “Mrs. Hutty’s Garden”, watercolor on paper, signed lower right, with two “The Charleston Renaissance Gallery, South Carolina” labels en verso, 27 7/8 in. x 33 1/4 in., in a giltwood frame. $12000/18000 Note: Upon discovering the city of Charleston, South Carolina, while returning from a trip to Florida, Alfred Hutty famously telegraphed his wife, “Come quickly, have found Heaven.” Hutty, an American artist originally from New York, was so charmed with the southern city that he began to sketch and paint there. As early as 1919, he and his wife, Bessie, began spending the winter months of the year in Charleston, and in 1927, they purchased a house at 46 Tradd Street. When he purchased this property, which was formerly the James Vanderhorst House, Hutty built a new entry and garden, which can be seen here in this lot, along with the former kitchen building to the right, which became Hutty’s studio. References: Poston, Jonathan H. The Buildings of Charleston: A Guide to the City’s Architecture, Columbia: University of South Carolina Press, 1997, pp. 144-45. W denotes the lot is illustrated at



275. Elliott Daingerfield (American/North Carolina, 18591932), “Wash Day”, 1887, oil on canvas, signed and dated “’87” lower right, with a label en verso, 22 in. x 18 in., in a giltwood frame. $75000/125000 Provenance: The Charleston Renaissance Gallery, Charleston, SC. Note: Elliott Daingerfield was born in Harper’s Ferry, Virginia and grew up in Fayetteville, North Carolina. The son of a Confederate Captain, Daingerfield showed great interest and ability in art at a young age. By 21, he had moved to New York to attend the Art Students League where he studied with George Inness Sr. and Walter Satterlee. The tonalism of these artists proved to be a strong influence in the young artist’s work.


Daingerfield fell ill with diphtheria in 1886 and returned south for the summer to recuperate in the North Carolina Mountains. The artist fell in love with the small town of Blowing Rock and proceeded to summer there throughout the rest of his life. He maintained a series of studios that took advantage of the mountain vistas that he found so inspiring. Female figures in his paintings often are representative of higher ideals set against the purity of nature. The work offered here, “Wash Day,” was painted in 1887 during his second summer in North Carolina. Two women at work on the laundry are placed at the center of the composition. The bright colors of their clothes and the laundry contrasting with the strong shadows evoke the clear noonday sunlight. A curtain sways in the breeze out a bedroom window intimating the comfortable North Carolina mountain air. Reference: Elliot Daingerfield: Victorian Visionary, Morris Museum of Art, Augusta, GA, 2001.

276. American School (late 19th c.), “Hunter with Rabbit”, oil on canvas, unsigned, 9 1/2 in. x 8 1/2 in., in an elaborately molded giltwood frame. $2500/3500 277. Thomas Addison Richards (American/Georgia, 18201900), “Penfield, Greene County, Georgia”, oil on canvas, signed lower left, with a label en verso, 25 1/4 in. x 37 in., in a giltwood frame. $40000/60000 Note: In 1853 T. Addison Richards lamented that “little has been said, either in picture or story, of the natural scenery of the South.” Born in England, his family immigrated to America in 1831, moving first to New York and then to Charleston, SC. Around 1837, they settled in the small town of Penfield, GA. Richards was an early advocate of the Southern landscape and through his paintings, illustrated magazine articles and guidebooks, he introduced the natural beauty and distinct characteristics of this region to a national audience. He left Georgia in 1841 to travel around the South and paint and draw the landscape. The following year, Addison and his brother, William Cary Richards, published Georgia Illustrated in Penfield, GA, which featured eleven steel engravings after Addison’s paintings. In late 1844, Richards settled permanently in NYC, where he enrolled at the National Academy of Design and subsequently became a full academician. He regularly exhibited his Southern landscapes in New York’s most prestigious art shows and quickly established his reputation as a painter. Reference: Pennington, E.C., A Southern Collection, Augusta, GA: The Morris Museum of Art, 1992.



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278. Richard Clague (French/New Orleans, 1821-1873, active New Orleans 1850-73), “Spring Hill, Alabama, in Autumn”, c. 1871-72, oil on canvas, signed “R. Clague” lower right, 16 1/4 in. x 24 1/4 in., in a period stenciled and giltwood frame. $100000/200000 Provenance: Eastern Shore of Maryland Estate, the family with ties to Louisiana and Mississippi; descended in the families of reknowned surgeon Arthur Washington De Roaldes and Associate Justice of the Louisiana Supreme Court, Henry Carleton Miller, New Orleans. Note: The father of Louisiana landscape painting, Richard Clague depicted the rustic landscapes of south Louisiana, coastal Mississippi

and lower Alabama from 1858 until 1873. In November 1871, Clague traveled to Spring Hill, Alabama, and created pencil drawings and paintings of this distinctive landscape. The painting offered here relates closely to a work in the collection of the New Orleans Museum of Art. Of the same size, both depict the same country road, fences, trees and architecture. Painted in the autumn, the leaves have begun to change color and fall. Clague evokes the clarity of the fall season with the rich blue sky and luminous intensity indicative of that time of year. Part of a small group of works created in Spring Hill in 1871-72, this rare painting displays Clague’s skill and mastery as the best of the 19th century Louisiana landscape painters. Reference: Toledano, Roulhac, Richard Clague, NOMA, 1974, p. 52.

278 (detail)




280. Colette Pope Heldner (American/New Orleans, 1902-1990), “Quartier Saisons / 625 - Chartres St. / Vieu Carre / New Orleans, LA.”, 1928, oil on artist board, signed lower left, fully inscribed, titled and dated en verso, 20 in. x 16 in., in a period giltwood frame. $6000/9000 Note: Colette Pope Heldner painted a series of impressionist courtyard scenes of the Vieux Carre’ during the late 1920s. Employing a light palette and painterly brushwork, these paintings often include the same Creole woman wearing a tignon. This work, titled “Quartier Saisons / 625 Chartres St. / Vieu Carre / New Orleans, LA.”, is a wonderful example of Southern Impressionism, rendered in colorful shades of lavender, blue, green and yellow. Depicting a verdant courtyard with hanging vines and potted plants, the tignon-attired woman stands in the center of the composition. 281

279. Marion Sims Souchon (American/New Orleans, 1870-1954), “Bayou Louisiana”, oil on canvas, signed lower right, 30 in. x 36 in., unframed.

Interestingly, Heldner inscribed “Mentioned in Sherwood Anderson’s writings” on the reverse of the painting. The novelist Sherwood Anderson lived in the historic Pontalba Apartments adjoining Jackson Square, beginning in 1924. There, he and his wife entertained William Faulkner, Carl Sandburg, Edmund Wilson and other literary luminaries. Anderson was also friends with the artists William Spratling, Caroline Durieux, and Ellsworth Woodward.

$6000/8000 Provenance: Gift of the artist; thence by descent in the family. Note: In the 1941 Time Magazine article, “Art: Painting Doctor”, Dr. Souchon is quoted as saying, “I like my pictures red hot. The only trouble with color is that you can’t eat it.” The current lot is an ideal example of Souchon’s “red hot” paintings. The fiery sunset reflected on the water, juxtaposed against the yellow of the cabin in the background and the greens of the bayou plant life not only speak of Souchon’s modernist tendencies, but also bring to mind the Post-Impressionist style of painting.

281. Stephen Maxfield Parrish (American, 1846-1938), “Tide Water Creek, St. Simons Island”, oil on board, unsigned, inscribed “M.P. Jr. No. 501”, and with “Vose Galleries, Boston”, “Carolina Galleries, Charleston, SC”, and “The Charleston Renaissance Gallery, Charleston, SC” labels en verso, 16 in. x 20 in., in a giltwood frame. $12000/18000 W 282. [West Florida and Louisiana Map], “The Coast of West Florida and

Louisiana”, hand-colored copper engraving, by Thomas Jefferys (English, 16951771), Geographer to His Majesty, sight 20 in. x 26 1/2 in., attractively matted and framed. $700/1000 W denotes the lot is illustrated at


283. The Congressman Preston Smith Brooks Coin Silver Presentation Pitcher, c. 1850, with pseudo hallmarks, vasiform with molded lip, naturalistic grapevine, berry and geranium leaf handle, inscribed “Presented to the Hon. P. Brooks by the Citizens of Columbia S.C. for Chastising Sumner of Massachusetts May 22nd 1856”, height 10 7/8 in., weight 30.90 troy ozs. $25000/35000 Provenance: Property of the great, great, great, grandson of U.S. Congressman Preston Smith Brooks (1819-1857), who is also the great, great, grandson of Milledge Luke Bonham (1813-1890), Brig. Gen., CSA and war-time governor of South Carolina. Note: These two objects --- a very fine pitcher and the riding crop offered as lot 284 commemorate one of the most dramatic events ever to occur on the floor of the United States Senate chamber. On 19 and 20 May 1856 Senator Charles Sumner (1811-1874) gave his provocative “Crime Against Kansas” speech (deriding an act jointly written by Senators Stephen A. Douglas of Illinois and Andrew Butler of South Carolina), in the most inflammatory possible language. Butler’s nephew, Congressman Preston Smith Brooks (1819-1857) decided to seek redress, and consulted South Carolina Representative Laurence M. Keitt on the rules of dueling etiquette. The latter recommended that duels were only appropriate among social equals, a rank which Sumner had allegedly forfeited by the coarse language of his address; Brooks therefore resolved to attack him with a cane (or walking stick). Accordingly, on the afternoon of 22 May 1856, Brooks confronted Sumner and accused him of libeling both South Carolina and his uncle. Brooks then beat Sumner so severely (using a thick gutta-percha cane with a gold head) that Sumner lapsed into unconsciousness, and eventually spent three years in therapy, recovering from his head wounds, before returning to the Senate in 1859. Southerners were unanimous in praising Brooks, as these two artifacts (and some dozens of new canes) attest. Nevertheless. the attack had the result of polarizing national opinion, and probably hastened the advent of the Civil War. Interestingly, the leopard head punchmark closely relates to that used by Wm. H. Ewan (wc. 1849-1859) of Charleston, SC. Ewan was married to a Miss H.E. Day of Newark, NJ. Of further interest, the horse head mark closely relates to that used by Baldwin & Co. (wc. 1840-1869) of Newark.


Reference: Burton. E. Milby, South Carolina Silversmiths 1690-1860, 1968, pp. 57-58. McGrew, John R., Manufacturers’ Marks on American Coin Silver, pp. 114 & 118.


284. The Congressman Preston Smith Brooks Presentation Riding Crop, c. 1856, the braided leather crop with yellow gold handle, the head engraved “P.S. BROOKS. COLUMBUS GA. FROM J.E. DAVIS.”, the gold shaft engraved “A WHIP FOR THE HORSE, A BRIDLE FOR THE ASS, AND A ROD FOR THE FOOL’S BACK. Proverbs, 26 Chap, 3d Verse”, length 21 1/4 in. $8000-12000

Provenance: Property of the great, great, great, grandson of U.S. Congressman Preston Smith Brooks (1819-1857), who is also the great, great, grandson of Milledge Luke Bonham (1813-1890), Brig. Gen., CSA and wartime governor of South Carolina. Note: The presenter, John Eayers Davis of Columbus, GA, was an important advocate for the filibuster movement. A member of the Columbus Guard, Davis fought in the Mexican American war alongside Preston S. Brooks, under General John Quitman. 284 (detail)


Reference: Featured in “Riding Crop…..Cannon,” History Detectives, season two, episode 206.

285. A Pair of Federal Brass Andirons, early 19th c., Charleston, each with faceted urn finial surmounted by a spherule, Ionic columnar upright, scrolled plinth base, the brass sheathed billet bars mounted by urn-form finials, height 19 in., width 5 1/4 in., depth 19 in. $600/900 285 286


286. A Pair of American GiltLacquered and Patinated Bronze Bracketed Solar Lamps, c. 1855, attributed to H.N. Hooper, Boston, depicted in the Hooper catalogue as No. 359 and 379, scalloped shell mount issuing foliate bracket supporting font, etched glass shade, height 13 in., width 8 1/2 in., depth 26 in.

W 287. A Pair of American Gilt-


288. A Regency Gilt and Patinated Bronze Eight-Light Chandelier, 19th c., acanthus and scroll mounted corona, twisted rod supports, bell-form body with bird pendant, floral supports, electrified, height 35 in., diameter 24 in.

Note: The innovative spring-form latch found in this example was patented by Edward F. Jones, of Boston, May 4, 1858. Reference: Gowitt, 19th Century Elegant Lighting, p. 45.

Lacquered and Patinated Bronze Bracketed Solar Lamps, c. 1855, attributed to H.N. Hooper, Boston, found en suite with previous lot, height 13 in., width 8 1/2 in., depth 20 in.


$2500/3500 289. A Southern Federal Inlaid Mahogany Sideboard, c. 1800, with long center drawer and two small drawers, a pair of doors flanked by rounded panels, bottle drawers and cupboard doors raised on square tapered legs, height 44 in., width 69 1/2 in., depth 22 1/4 in. $2000/3000


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291. A Rare George III Carved and Figured Mahogany Beau Brummel, early 19th c., in the Gothic taste, the lift top revealing interior well for basin, tracery carved frieze, and conforming paneled cabinet doors concealing fitted drawers, raised on square, bracketed tapering legs ending in brass cup casters, height 38 1/2 in., width 24 3/4 in., depth 22 in. $1000/1500



290. A Very Fine American Classical Stencil-Decorated and Carved Mahogany Extension Dining Table, early 19th c., New York, pair of console ends with rounded corners, center with two drop leaves and two detached leaves, skirt with geometric gilt stenciling, columnar supports on square plinths, acanthus carved scroll legs, paw feet, casters, height 30 in., width 49 in., total extended length 162 3/4 in., console length 24 1/2 in., center width 24 in. $30000/50000 Provenance: Ex-collection, James M. Goode, author, scholar, and Curator of the Smithsonian Institution, 1970-1988. Publications: This table is illustrated in Oscar P. Fitzgerald. Four Centuries of American Furniture. New York: Wallace-Homestead (1995). p. 125, pl. VI-32.


292. A Fine Regency Carved Satinwood Dumbwaiter, c. 1815, two dished circular tiers with reeded edge; on turned standard on hipped sabre legs, brass cuffs, casters, height 37 1/2 in., diameter 24 in. $1000/1500

293. A Fine Antique Yellow Gold and Micromosaic Roundel Pin of a 13-Star American Flag, early 19th c., the micromosaic probably Italian, diameter micromosaic 1 1/8 in., overall 1 1/4 in. $5000/7000 Provenance: Collection of a Mississippi Delta Lady; to the present owner.

294 293


296. A Set of Four William IV Carved Mahogany and Paint-Decorated Hall Chairs, early 19th c., each with pierced foliate carved crest, shaped back centered by recessed shield painted with a bull, horseshoe shaped plank seat on bulbous ring turned and reeded legs.



294. A Fine English Silver-Inlaid Tortoiseshell Tea Caddy, c. 1800, scalloped front, fitted interior, turned ivory feet, height 4 7/8 in., width 5 1/8 in., depth 3 1/2 in.

297. A Regency Inlaid Mahogany Library Table, early 19th c., shaped drop leaves, opposing frieze drawers, turned baluster support, on splayed legs ending in brass cuffs and casters, height 28 7/8 in., width 35 1/4 in., depth 27 in.

$2500/3500 295. A Good Pair of Paris Porcelain Book Flasks, early-to-mid 19th c., each inscribed “Crème de Menthe” to one side and “Imported by Loreilhe & Valeton, N.O.” to the other in gilt script, the bindings inscribed “W. Irving I and II”, height 6 2/3 in., width 4 1/2 in., depth 1 3/4 in. $1200/1800 Note: According to the 1842 New Orleans City Directory, Loreilhe & Valeton was located at 59 Royal Street. A Related Loreilhe & Valeton book flask is in the Williams Residence of the Historic New Orleans Collection.

$1500/2500 297

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W 301. An

Antique French Gilt and Patinated Bronze Incense Burner, 19th c., pierced burner and lid on tripod support with hoof feet, round base with thumbhold, height 3 3/4 in., width 3 1/2 in. $150/250 W 302. A Pair of

French Gilt Bronze Chenets 299 in the Rococo Taste, late 19th c., elaborate design of pierced scrolls and foliate motifs incorporating a patinated bronze putto at the front of each, height 20 in., length 12 1/2 in.


$300/500 W 303. A Continental Silver Gilt, Marble, and Cut

Glass Figural Inkstand, oval variegated green marble plinth with two inkwells centering a seated child, suppressed ball feet, height 7 3/4 in., width 15 1/2 in., depth 6 7/8 in. $400/600 304. A Pair of Neoclassical Silverplate and Crystal Tazzas, trademark of Padley, Parkin & Staniforth, Sheffield, wc. 1876-1911, 19th c., each cast spreading eagle support on triangular base with elaborate Classical borders and decoration, supporting a fine period wheel cut shallow circular bowl having a cut starburst center, height 9 in., diameter 8 in.


298. A Fine George II Walnut and Marquetry Chest of Drawers, 18th c., rectangular top with oval reserve, two short and three long graduated drawers, bracket feet, height 31 in., width 41 in., depth 20 in.

$1000/1500 305. A George III Sterling Silver Salver, possibly Richard Rugg, no. 2, London, 1768, circular with piecrust rim, ornate chased Rococo wide band surrounding central engraved armorial, raised on ball and claw feet, diameter 18 1/4 in., weight 74.65 troy ozs.

$2500/3500 299. A French Provincial Walnut Table à Thé, late 18th c., molded galleried top with canted corners, turned vasiform supports joined by “X” stretcher, bun feet, height 27 in., width 19 1/4 in., depth 17 1/2 in.


$1000/1500 W 306. A Group of Five AngloW 300. After Francois-Nicolas

Martinet (French, 1725-1804), “Tangara”, “Pigeon Ramier”, “Emerillon” and “Tourterelle”, c. 1775, four hand-colored engravings, from Histoire Naturelle des Oiseaux, sight 11 in. x 8 in., matted and framed. $300/500



Irish Cut Glass Decanters, c. 1825, plain diamond and prism cutting and ringed necks, three with original mushroom stoppers; together with an extra stopper, each approx. height 8 3/4 in. $500/750

307. An American Gilt and Lacquered Brass Solar Lamp, c. 1850, attributed to H.N. Hooper and Co., Boston, pattern no. 419, the font encircled with star and snowflake prisms, the figured standard modeled as a youth in 18th c. attire on spreading foliate pedestal and square marble plinth, period etched and cut blown glass shade decorated with gothic windows. $1500/2500 Provenance: Sotheby’s New York, July 16, 1998, as lot 482. W 308. A Set of Six American Diamond

and Fan Cut Glass Champagne Flutes, early 19th c., possibly Bakewell Page & Bakewell, Pittsburgh, height 5 3/4 in. $300/500 Note: The same pattern was used in the White House during Andrew Jackson’s Administration. W 309. A Set of Nine American Cut and

Engraved Blown Glass Goblets, mid-19th c., in the Vintage pattern, height 6 1/4 in.



$300/500 310. An American Classical Carved and Gilded Pier Mirror, early 19th c., New York, split baluster frame with blocked rosette corners, the frieze with shell and vintage relief decoration, original gilt surface, height 48 in., width 28 in., depth 3 in. $1000/1500 W 311. An

American Classical Mahogany Looking Glass, early 19th c., covemolded frame, labeled “James Borbi No.18 North 3rd Street Philadelphia “, height 32 1/4 in., width 21 3/4 in.



313. Attributed to Aimable Desire Lansot (French/New Orleans, 1799-1851), “A Pair of Louisiana Pendant Portraits”, each oil on canvas, unsigned, 28 in. x 21 1/2 in., in matching antique gilt wood frames.

W 312. A Georgian-Style Carved and Giltwood Mirror,


pierced crest with fleur-de-lis and C-scroll stiles, foliate base, height 50 in., width 27 in.

Provenance: A Tennessee Collection inherited by the consignor; sitters reputed to be members of the Claiborne Family of Louisiana.


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314. Marie Adrien Persac (French/New Orleans, 18231873), “Palo Alto Plantation, Ascension Parish”, gouache and collage on paper, 17 in. x 23 in., attractively matted and framed.

Published: Bacot, H. Parrott et al, Marie Adrien Persac: Louisiana Artist, 2000, pp. 62-63; Bacot, Barbara S.R., “Marie Adrien Persac: Architect, Artist and Engineer,” The Magazine Antiques, November, 1991, pp. 806-815.


Note: Marie Adrien Persac: Louisiana Artist is dedicated “to the memory of Arthur A. ‘Bubs’ Lemann (1917-1993) Pioneer Researcher of the life and works of Marie Adrien Persac.”

Provenance: With Pierre Oscar Ayraud; Thence to his daughter, Mary Lee Ayraud (Mrs. Frederick Landry), 1867; Thence to her daughter, Mary Lee Landry (Mrs. Arthur A. Lemann), 1929; Thence to her son, Arthur A.”Bubs” Lemann, Jr., 1954 Thence by descent in the Lemann Family.

Arthur A. “Bubs” Lemann was a charming and passionate gentleman. He was particularly passionate about the work of Adrien Persac because he had this wonderful gouache and collage portrait hanging in the front hall of his home, Palo Alto on Bayou Lafourche in Ascension Parish. In 1975, when I acquired in my capacity as curator of LSU’s art museum the first of the museum’s five Persac gouaches, Bubs was one of the first to come to the museum. He came enthusiastically bearing his own portfolio of information about the artist, the artist’s family and numerous photographs he had made of other Persac paintings. He had devoted years to locating and researching these works.

We would like to thank Pat and Barbara Bacot for sharing the following personal anecdote and additional information which is unavailable elsewhere:

Educated in France, he was not an academic painter, but neither was he an inspired craftsman or folk artist. Like the Latrobes, architects who could paint, he was a master of pen, ink and watercolor. Like Gualdi, he transcended drafting to make the most notable part of his career as a painter. In all of the landscapes, the perspective is panoramic and both buildings and trees are attenuated. The detail is exquisite, and there is every reason to believe that it is completely accurate. It has been said that the images are photographic and photography was an aid to accuracy. But no photograph could capture either the encompassing view or the facade unhidden by vegetation --- certainly not in color. 314 (detail) Comparing the house at Palo Alto today to the Then came the invitation for my wife and me to painting, one can see that the detail of the come for lunch at Palo Alto and see the painting is so accurate and minute that even the painting. We drove up and were waved into the octagonal panes of the side- and over-lights around the front door are depicted. kitchen wing, where the side gallery was a marvelously old-fashioned “new” Bubs and Camille well knew the accuracy of the image of the house and kitchen added between the house and the detached kitchen shown in the reconstructed the small double-return staircase at the front of the house and the painting. Camille, his delightful and equally charming wife, greeted us in an pigeonnier according to the painting. According to family tradition, the vinearomatic cloud redolent of the gumbo she was preparing. We still treasure the covered building with white curtains is the schoolhouse. Persac’s view is the only recipes this notable cook was so willing to share. In the best southern manner I record of it and all that was lost over time -- fences, sugar house to the rear, immediately established that Camille’s half-sister, the New Orleans collector Sue overseer’s house, plantation bell, quarters and boat house. Hyams was a friend of ours. Bubs was waiting impatiently to take us into the main house to see his painting. The amber glass of the front door side- and over-lights The paper of the gouaches was always French all rag, and two gouaches have the (carefully recorded in the picture) made the central hall somewhat dim, but the cacheted stamp of M. Pottin of Nantes. (After the Civil War he eschewed fine painting hanging halfway down the hall softly glowed. While chills ran up and French paper in favor of inexpensive pulp paper, and he switched to the less down our spines at the thrill of being in the very house depicted in the painting, laborious medium of transparent watercolor.) For his principal landscapes such as we did not realize over thirty years ago that this was the only privately-owned Palo Alto, the medium is watercolor enhanced by gouache and glaze. Unique in gouache portrait still hanging in the house it depicted. Such provenance is alllandscape painting is his use of collage. The figures in the foreground are important. Now the National Trust’s Shadows-on-the-Teche in New Iberia will be particularly interesting in that the print on the other side can be seen through the the only house with its Persac views in the house, where images of the facade and white of the lady’s shawl. For the foregrounds, Persac often painted figures from bayou elevation hang in the second-floor salon. weekly or daily publications, cut them out and glued them to the landscape. He always painted background figures, such as the gentleman in white standing at At the door to his office in Exchange Alley, Persac hung his sign “DESSIN the foot of the stairs, believed by the family to be Pierre Oscar Ayraud, the builder D’ARCHITURE ET DES MACHINES, portraits et passage.” He was what he says he of the house who commissioned the painting. was -- an architect and civil engineer who painted portraits and landscapes.




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315. Louis Oscar Griffith (American, 1875-1956, active New Orleans, 1916-1917), “Charcoal Schooners”, c. 1916-17, oil on masonite, signed lower left, titled on artist label, and bearing an April 1934 exhibition label from “Ninth Region Indiana Division / Educational Circuit Exhibit” en verso, 30 in. x 36 in., in a period giltwood frame. $40000/60000 Note: L.O. Griffith spent the winter of 1916-17 in New Orleans with fellow artist Robert Wadsworth Grafton, during which time the St. Charles Hotel commissioned the artists to paint work for the hotel. The artists found inspiration in the architecture, waterways and people of the city. As is apparent in the works Griffith painted in New Orleans, a favored subject seems to have been the New Basin Canal. His scenes of this historic waterway that traversed the city are his most painterly and impressionistic. The especially large composition offered here is brilliantly rendered with lovely brushwork, strong light and reflection. The hotel created a booklet “Souvenir of New Orleans, The Paris of America” which reproduced the paintings created during this time.


316. Marion Sims Souchon (American/New Orleans, 1870-1954), “Bayou Barataria”, oil on board, inscribed “349” and with a label bearing the title en verso, 21 7/8 in. x 28 in., in a period frame. $4000/6000 Provenance: Descended in the family of Dr. Jackson Gilbert Hoening, Austin, Texas. Note: The Time Magazine article that brought Dr. Marion Souchon fame in 1941 called his works “Van Gogh-like” and “coloristic”; the lot pictured here is a prime example of the influence of Post-Impressionism on Souchon. The thick, straight lines of the buildings and on the water, and the greens and reddish-browns of the painting certainly call to mind the later works of Van Gogh in Arles. Additionally, the colors and the outlines on the buildings and trees mimic the work of other Post-Impressionists such as Paul Gauguin.



317. Clementine Hunter (American/ Louisiana, 1886-1988), “Uncle Tom’s Flower Garden”, oil on canvas board, monogrammed lower right, titled and with a preparatory sketch en verso, 15 7/8 in. x 19 7/8 in., in a giltwood frame.


$3000/5000 318. Emma S. Gilchrist (American/South Carolina, 1862-1929), “St. Michael’s Alley, Charleston, S.C.”, oil on canvas laid down on board, signed lower left, titled on cardboard from original backing board en verso, 7 5/8 in. x 5 3/4 in., in a giltwood frame. $3000/5000

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319. Knute Heldner (Swedish/New Orleans, 1877-1952), “Bay St. Louis”, oil on canvas, signed lower left, 18 in. x 19 7/8 in., in a giltwood frame. $3000/5000 319


320. Antonio Nicolo Gasparo Jacobsen (Danish/New York, 1850-1921), “The Nathaniel Blake”, oil on wood panel, signed, dated “1878” and inscribed “NY” and “257 8 Av. Cor 23 St” lower right, label en verso, 20 3/4 in. x 35 1/4 in., in a giltwood frame. $18000/24000



321. James Guy Evans (New Orleans/ Active, 1835-1860), “Tow Boat Conqueror of New Orleans, Capt. John Heaton, Coming up from the Balize, October 29th, 1847”, oil on canvas, signed “Evans” lower right, 39 1/2 in. x 49 3/4 in., framed. $120000/150000 Note: The renowned marine painter James Guy Evans worked in New Orleans from 1843 until 1853, creating scenes of tugboats, steamships, and significant maritime events. Evans briefly worked in partnership with the portrait and landscape painter Edward Everard Arnold (1824 or 1826-1866) in the 1850s, during which time the pair of artists proposed creating a sketch of the city from the view of their studio window in the Faubourg Marigny, a scheme which unfortunately never came to fruition. In this scene, the towboat Conqueror, which was built in 1847 and lost in 1861, tugs several ships up the river from the Balize, the location of the pilot station on the northeast pass. This was a common occurrence, as the currents of the Mississippi River

often were strong enough that sailing vessels required assistance from steam-powered towboats such as the Conqueror. Evans created two versions of the Tow Boat Conqueror. While the companion piece of 1852, which is in the collection of the Metropolitan Museum of Art, depicts the same boats (the Maritana, the Megunticook, the Lord Seaton, the Oswego, and the Laura), the present lot’s composition is reversed and the lettering on the flags is backwards. The very slight variations include the placement of the clouds, the shading on the flags, and the grouping of the sailors on the boats. It has been suggested, as explanation for the mysterious reversal of the composition, that perhaps Evans intended to create a lithograph of the scene; however, no print of this image has ever been located. Reference: Mahé, John, et. al. The Encyclopaedia of New Orleans Artists. New Orleans: The Historic New Orleans Collection, 1987; Spassky, Natalie, et. al. American Paintings in the Metropolitan Museum of Art, Volume II: A Catalogue of Works by Artists Born between 1816 and 1845. New York: The Metropolitan Museum of Art, 1985.

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322. Auguste Edouart (French, 1789-1861, active New Orleans 1842 and 1844), a group of four Silhouettes of the Children of Benjamin Farrar Young and Martha Jane Wade Young/ Catherine Semple Young, including: “Mary Allison Young”, signed and dated “17 Jan. 1844” lower left, inscribed “Natchez Mis.” lower right; “Robert Temple Young”, signed and inscribed “taken at N. Orleans” lower left, titled and dated “Jan. 17, 1844” lower right; “Robert Wade Young”, signed, dated “1844” and “Jan. 17, 1844” and inscribed “taken at N. Orleans “ lower left, titled, inscribed “New Orleans”, and dated “ 17 Jan. 1844” lower right; and “William Gosser Young and His Dog Bonnie”, signed and inscribed “New Orleans Jan 1844” lower left, titled, inscribed “N.O.” and dated “21 Jan 1844 “ lower right, each sight 6 in. x 5 1/2 in.; two with “The Collection of American Silhouette Portraits/ Cut by August Edourd [sic]/Exhibited by Arthur S. Vernay/12 East 45th St./New York/ from Oct 27 to Nov 15, 1913” labels en verso, all four in fine original carved maple frames, together with E. Nevill Jackson. The History of Silhouettes, London: The Connoisseur, 1921. Arthur S. Vernay Gallery, New York. Exhibition Catalog-American Silhouettes by August Edouart, 1913. $8000/12000 The figure adds materially to the effect that produces a likeness, and combines with the outline of the face to render, as it were, a double likeness in the same subject. From this combination of face and figure arises the pleasing and not less surprising result of a striking resemblance. — Auguste Edouart


Note: A decorated soldier under Napoleon Bonaparte, Edouart fled France after the French leader was exiled to Elba. Arriving in England in 1815, he set up shop as an artisan creating intricate and delicate weavings of hair to incorporate into memorial or mourning jewelry. He eventually discovered paper cutting and realized it was a more profitable - and less time consuming - art than hair weaving. Edouart soon made a name for himself as a silhouettist, a term he created because he found the then-common English phrase “black-shade man” offensive. In 1839, Edouart arrived in America for a ten year visit. He traveled across the country creating silhouettes of many prominent members of society, politics, and the arts. He spent time in most major cities; his delightful silhouettes of the Young children were produced during his time in Natchez and New Orleans. The father of the children, Benjamin Farrar Young, was a prominent and wealthy plantation owner in Wilkinson County, MS, with strong family and business ties to Louisiana. His portrait is included in the National Society of the Colonial Dames of America in the State of Louisiana’s book Louisiana Portraits. It is believed that Edouart created over a thousand silhouettes, almost all full body images with no embellishments save an occasional line in graphite. It was his custom to create two of every cutting, one for the sitter and another, carefully annotated, to be stored in his reference folios. Upon his return trip to England in 1849, his ship was wrecked off the coast of Guernsey. Though there was no loss of life, all but 14 of his folios were destroyed. Devastated by this loss, Edouart gave the remaining folios to a family friend and returned to France. He never cut another silhouette. A 1913 exhibition of Edouart’s American silhouettes held in New York City included the portraits of the Young children. References: E. Nevill Jackson. The History of Silhouettes, The Connoisseur: London, 1921. Arthur S. Vernay Gallery, New York. Exhibition Catalog- American Silhouettes by August Edouart, 1913.


324. An Important New Orleans Coin Silver Presentation Pitcher and Goblet, Adolphe Himmel (1825/6-1877) for Hyde & Goodrich, wc. 1853-1861, c. 1860, incised mark “H” between “Hyde & Goodrich” in arc and “New Orleans” in arc, the pitcher engraved in high relief with central cartouche surrounded by flowers; the goblet engraved in high relief with four shield-shaped cartouches separated by high relief floral garlands, both inscribed “Presented to Maj. GenL. N.P. Banks, Com dg Dept of the Gulf, by the Teachers and Pupils of the Public Schools of New Orleans, Jefferson City, Gretna and Algiers” and “Commemorative of the Capture of Port Hudson, July 8, 1863”, pitcher height 9 5/8 in., goblet height 6 1/2 in., combined total weight 34.8 troy ozs. $20000/30000 Provenance: Descended in the Family of Gen. Nathaniel P. Banks (1816-1894). Note: General Nathaniel P. Banks succeeded the notorious General Benjamin F. “Spoons” Butler as Commander of the Department of the Gulf in late 1862 and would remain in that position until fall of 1864. These presentation pieces honor Banks for his army’s capture of the Confederate garrison at Port Hudson on July 8, 1863, and were presented by the teachers and pupils of the public schools of the New Orleans area. That same month, Banks had ordered his Chief Quartermaster to turn over all books and engravings captured by the Army to the New Orleans Public School Libraries. (Daily Picayune, August 1, 1863, p.1.) 323

323. An American Coin Silver Agricultural Premium Julep Cup, John Kitts, Louisville, KY, c. 1855, marked “JOHN KITTS/ C & R/ COIN”, inscribed in script “South Western/ Agricultural and Mechanical/ Association”, with applied beaded and molded lip and foot bands, period engraving, height 3 3/4 in., weight 5.15 troy ozs. $1800/2500

The Daily Picayune of August 16, 1863 reports an event honoring Banks which was hosted by the Union school teachers and school children at The Lyceum. The Hall is described as “richly draped with flags, garlands and evergreens, and the name of Gen. Banks, with the victories achieved by him, appeared in living green upon the walls.” The Daily Picayune also reports the presentation of “a silver salver, tankard and goblet.” (Daily Picayune, August 16, 1863, p. 3.) The presentation pitcher and goblet offered here are almost assuredly that “tankard and goblet.” Notwithstanding the plaudits Banks received in New Orleans in the summer of 1863, the latter part of his career there would be overshadowed by the failure of the Red River Campaign and his army’s defeat by Major General Richard Taylor (son of President Zachary Taylor) at the Battle of Mansfield. Hallmarks on the Banks pitcher and goblet indicate manufacture in 1861 or prior: the Hyde & Goodrich partnership was dissolved in 1861, with the remaining partners forming a new partnership, Thomas, Griswold & Co. The pitcher and goblet could, like the books and engravings, have been “captured”. (Crescent City Silver. The Historic New Orleans Collection, New Orleans, 1980. pp.4-5.) W denotes the lot is illustrated at


326. A Rare Cased Set of Twelve Mobile Coin Silver Teaspoons, John A. L’Hommedieu (18061883) silversmith, jeweler, dentist (wc. 1850-1867), fiddle thread pattern, engraved “Gabie”, length 4 1/2 in., case size 5 3/4 in. x 5 in. x 1 1/4 in. $1500/2500 327. An American Coin Silver Agricultural Premium Pitcher, erased mark in rectangle, c. 1850, Fayette Co. Board of Agriculture, baluster form raised on foliate scroll and shell feet, rococo repoussé chased decoration and engraved cartouche, cast S scroll handle, height 6 1/2 in., weight 6.65 troy ozs. $600/800



325. An Important New Orleans Coin Silver Tureen and Cover, Adolphe Himmel for Hyde & Goodrich, c. 1855, incised mark “H” between “HYDE & GOODRICH” in arc and “NEW ORLEANS” in arc, with eagle finial and lion mask drop handles, the hand-wrought oval bulbous body with floral repoussé decoration, one reserve with Gothic monogram, applied beaded, and egg-anddart rim, raised on four cast scroll supports, height 9 1/2 in., width 14 1/2 in., weight 91 troy oz. $20000/30000 Note: This tureen is distinguished by Himmel’s ambitious and refined classical details: robust egg and dart border, well-modeled lion mask and ring handles and eagle which appears to alight on the rockwork lid. Tureens are a rare form in New Orleans-made silver. A later tureen, also by Himmel, c. 18611877, in the retardataire Rococo Revival taste, is illustrated in Crescent City Silver, pl. 55, p. 53.



328. A Set of American Coin Silver Fiddlethread Flatware, Thomas Whartenby & Co., Philadelphia, wc. 1847-1850, marked “WHARTENBY” in a rectangle, in the 328 French style, comprising 6 dinner forks, 7 5/8 in.; 6 luncheon forks, 6 3/4 in.; 6 dessert spoons, 7 1/4 in.; 8 tablespoons, 8 1/2 in.; 8 teaspoons, 5 7/8 in.; 1 butter knife, 6 7/8 in.; and 1 ladle, 9 1/4 in.; engraved script monogram DRH and on the reverse another script monogram below a gamecock crest, the ladle without crest, in a dovetailed cherrywood box, combined weight 68.60 troy ozs. (43 pcs.)


$2000/3000 329. A Rare Chaudron’s and Rasch Coin Silver Ladle, Philadelphia, wc. 1798-1820, marked “CHAUDRON’S & RASCH” in banner; and “STER.AMERI.MAN.” in a banner; downturned fiddlethread handle with curved shoulders, deep oval bowl, length 13 1/2 in., weight 7.95 troy ozs.


$600/900 330. A Set of Six American Coin Silver Goblets, marked “K14”, probably Northeastern, mid-19th c., spun construction, each plain bell shaped bowl on trumpet form base with molded footrim, foliate cartouche engraved “T. Rigby” in script, height 7 in., combined weight 41.80 troy oz. $1000/1500 W 331. An American Coin Silver Youth

Fork and Knife, James Conning, Mobile, wc. 1840-1872, twist handles with engine-turned terminals, knife length 7 1/4 in., weight 2.30 troy ozs. $300/500 W 332. An American Coin Silver Cheese

Scoop, Ball, Black & Co., New York, act. 18511876, length 8 3/4 in.; together with 5 downturned fiddletypt coin silver tablespoons, R. & W. Wilson, Philadelphia, act. 1825-1846, period script monogram, length 9 in., combined weight 11.50 troy ozs. $300/500 W 333. A Group of Antique French and English Silver

Forks, various makers, including 3 fiddlethread table forks, 6 fiddlethread luncheon forks, and one fiddle and shell dinner fork, (10 pcs.), weight 18.45 troy ozs.


334. William Aiken Walker (American/South Carolina, 1838-1921, active New Orleans, 1876-1905), “Cabin Scene”, oil on artist board, signed lower left, pencil inscribed “Cabin” and with remnant of Devoe label en verso, 9 3/8 in. x 12 3/8 in., in a period frame. $20000/30000 Note: To be included in John Fowler’s forthcoming catalogue raisonné on the artist.

$200/400 W denotes the lot is illustrated at



335. William Henry Buck (Norwegian/New Orleans, 1840-1888), “View of Bayou St. John”, oil on canvas, signed and dated “1880” lower right, 12 in. x 20 1/4 in., in a period giltwood frame. $100000/150000 Provenance: Descended in the family of John Lang and Julian Dodge Lang, Scottish émigrés to New Orleans in the 19th century. Note: The companion painting to “View of Bayou St. John” was sold in these rooms on May 22, 2010 (lot 433). That work depicted the Spanish Fort Hotel on Bayou St. John. In the painting offered here, William Henry Buck shows the Bayou from a different perspective. Buck depicts this historic waterway in New Orleans down the middle of the composition. Two sailboats are tied to a dock on the left, intimating their proximity to the open waters of Lake Ponchartrain. A distinctive looking building with a pair of chimneys on either side of the front gallery is situated on the right bank. The gentle curve and recognizable oak trees of Bayou St. John sit on the horizon. In the distance, small houses and indistinct buildings are shown on the left bank as a tug heads towards the viewer. This work and its companion painting belong to a small group of works by William Henry Buck with identifiable locations. It is clear that within this small group, the artist took considerable effort to complete the composition with a recognizable landscape.


336. William Aiken Walker (American/Charleston, 1838-1921, active New Orleans, 1876-1905), “Cabin Scene with Spanish Moss”, oil on academy board, signed lower left, pencil-inscribed “Cabin” and bearing a remnant of a “F.W. Devoe” label en verso, 9 1/8 in. x 12 1/4 in., in a giltwood frame. $12000/18000 Note: To be included in John Fowler’s forthcoming catalogue raisonné.


337. Meyer Straus (American, 18311905, active New Orleans 18691875), “Louisiana Swamp”, 1875, oil on academy board, signed and dated “M. Straus 1875” lower right, titled in pencil en verso, 9 3/8 in. x 12 1/4 in., in an antique molded giltwood and gesso frame. $20000/30000 Note: This work closely relates to the major composition in the collection of the Morris Museum of Art, Augusta, GA, and was painted in 1875, the same year as the small work in the collection of the Ogden Museum of Southern Art from the collection of Roger H. Ogden, New Orleans, LA. The work at the Morris Museum of Art, titled “Bayou Teche “ is a large composition with a boating group of moss gatherers and dense, finely rendered trees and foliage. The similar boat and figures on the bayou with moss-laden trees framing the scene indicate that the painting offered here may be a study for the Morris Museum masterpiece. Reference: Pennington, E.C., Downriver: Currents of Style in Louisiana Painting 1800-1950, Pelican Publishing Co., 1991, p. 76. Pennington, E.C., A Southern Collection, Morris Museum of Art, 1992, p. 74-75. Delehanty, Randolph, Art in the American South: Works from the Ogden Collection, LSU Press, 1996, p. 24-25.

337 338. [French Louisiana Slavery], Code Noir, ou Recueil d’Edits, Déclarations et Arrets concernant les Esclaves Négres de l’Amerique, avec un Recueil de Reglemens, concernant la police des Iles Françoise de l’Amérique & les Engagés, published by Libraires Associez, 1743, Paris, leather boards, with exlibris of “John Dalton Shaffer, Ardoyne Plantation, Parish of Terrebonne”, approx. 300 pgs, 4 in. x 3 in. $1000/1500 Provenance: Ardoyne Plantation, Terrebonne Parrish, LA. Note: The Code Noir, or Black Code, was a decree passed by Louis XIV in 1685 defining the conditions of slavery in the French colonial empire. It provided guidelines as to how slaves were to be treated, forbade any religion other than Roman Catholicism, and banned Jews from living in the colonies. Many of these laws regulating the slave trade remained in effect until well after the Louisiana Purchase of 1803.



339. The “Hence Smith” Carved Walnut Chest of Drawers, c. 1840, North Carolina, pencil inscription “D Smith” on proper right exterior of top drawer denoting Daniel Smith, plantation owner, rectangular top, outset drawer over three graduated drawers, baluster-turned legs, hatched and twist incised stiles throughout, retains original surface, cherry and pine secondary woods, height 46 3/8 in., width 42 1/8 in., depth 21 3/4 in. $7000/10000 Provenance: By repute, purchased at the estate sale of one of the great-grandchildren of Daniel and Anna Clapp Smith, Guilford, NC. Acquired by the noted antiquarian Roddy Moore; then purchased by the present owner, c. 1996. Exhibition History: The New Orleans African American Museum of Art, Culture, and History, New Orleans, LA. Note: “Hence Smith,” a slave, is probably Henderson Smith (born c. 1820 in North Carolina), listed as a carpenter in the 1880 United States Federal Census in Eutaw, Greene County, Alabama. W denotes the lot is illustrated at


W 343. [Antique

Hand-Colored Map of Louisiana], 1856, “A New Map of Louisiana with its canals, roads, & distances from place to place, along the stage & steam boat routes”, by Charles Desilver, Phila., sight 12 1/2 in. x 14 3/4 in., attractively matted and framed.


340. An Important American Classical Mahogany Lit de Repos, c. 1835, New Orleans, incised stamp “D. Barjon”, height 32 in., inside width 25 in., length 69 in. $12000/18000 Exhibition History: “Sankofa,” various exhibitions, including Harriet Tubman African-American Museum, Macon, GA; DuSable Museum, Chicago, IL; Louisiana State Museum, New Orleans, LA, Dec. 1994-Mar. 1995; The Maryland Historical Society, Baltimore, MD; Hampton University, Hampton, VA; The African American Museum, Dallas, TX; and others. Note: Born in Jeremie, Haiti, at the turn of the nineteenth-century, Dutreuil Barjon came to New Orleans with his mother in 1813 and apprenticed with cabinetmaker Jean Rousseau (active 1810-1837). The Barjon shop advertised in the 1834 Michel’s City Directory, offering “to the public a large assortment of furniture made in this city, and in the newest and most fashionable style.” Two years after Barjon established his own firm at 245 Royal Street, Dutreuil Barjon, Jr. was born in 1823. The younger Barjon was listed as a cabinet-maker in the city directories of the late 1840s when he managed his father’s shop. The elder Barjon retired to Paris in 1856, leaving operation of the firm to his son. Reference: Harrison, “The Nineteenth-Century Furniture Trade in New Orleans,” Magazine Antiques, May, 1997, pp. 748-759; Moscou, “New Orleans’ Freemen of Color: a Forgotten Generation of Cabinetmakers Rediscovered,” Magazine Antiques, May 2007, pp. 540-4; Patton, “Antebellum Louisiana Artisans, The Black Furniture Makers,” International Review of African American Art, 1995, p. 19; and Poesch, “Furniture of the River Road Plantations in Louisiana,” Magazine Antiques, June 1977, p. 1188. Reproduced in Moscou, New Orleans’ Free-Men-of-Color Cabinet Makers in the New Orleans Furniture Trade, 1800-1850, New Orleans: Xavier Review Press, 2008, fig. 10.

W 341. [Louisiana Governor Thomas Robertson’s Estate

Sale Catalogue], “Estate of Thos. Robertson, Pub. Sale, January 14th, 1830”, 12 pages, complete listing of all household goods and slaves, showing their purchase price and buyer, 12 1/4 in. x 7 3/4 in.

$500/700 W 344. [Frank Island Lighthouse], An Account of the Time

Building the Light House on Frank Island, New Orleans, ledger with watermarked, laid paper, three quarter leather boards, manuscript entries, one month per page, covering the period from March 1, 1818 through April 17, 1823, the front signed “Benjamin Beal, Hingham, 1818”, each page noting the days worked by each worker, with various notes scattered throughout including; “cutting wood up the river”, “stole a boat and absconded”, “drunk”, men docked for “disturbing the house after bed time”, “refused to return to the Island and stay’d at Blakely”, with other entries noting the ebb and flow of workers on various boats, 15 in. x 9 1/2 in. $600/900 Note: The Frank Island Lighthouse was commissioned in 1804 by President Thomas Jefferson to mark the entrance of the Mississippi River, gateway to the new Louisiana Territory. The renowned architect Benjamin Henry Latrobe was selected as the designer. His magnificent plans, now conserved in the National Archives, proved to be too difficult for anyone to undertake and another plan was chosen. Winslow Lewis started work on the lighthouse, using this less complicated plan and subcontracted the job to Benjamin Beal of Hingham, Massachusetts. Shortly after the lighthouse was lit in 1820 the foundation started to crack, soon crumbling to the ground. Lewis was again chosen to complete the new lighthouse which was completed in 1823. The light was turned on March 20, 1823, an event that is simply noted in this lot’s entry for that day as “Light the Light House.” W 345. S. Navarro (American/Louisiana, 19th/20th c.), “At

Beauvoir, J. Davis Home”, watercolor on paper, signed and titled lower center, 18 in. x 24 in., in an antique frame. $600/900

$400/600 Note: Thomas Robertson (1779-1828) was the Governor of Louisiana from 18201824.

W 346. A Southern Walnut Plantation Desk, early 19th c., the

W 342. [Battle of Liberty Place], “Battle of New Orleans for


Freedom, September 14, 1874”, hand-colored lithographed map, 1874, by T. S. Hardee, lithographed and published by H. Lewis, 22 St. Charles St., with history of the revolution and a list of the wounded and killed, sight 18 1/4 in. x 23 in., matted and framed. $500/700

molded cornice above two paneled doors, fall front lid opening to a fitted interior, the stand with ring-turned tapering legs, height 77 in., width 42 in., depth 22 in. Provenance: Found in St. Francisville, Louisiana. W 347. A Colonial Revival Cherrywood and Mixed Woods

Writing Arm Windsor Chair, c. 1920, attributed to Wallace Nutting, Ashland, Massachusetts, pattern #451. $700/900 Note: A similar chair is illustrated in Magazine Antiques, (May, 2003), p. 133.



348. Alberta Kinsey (American/Louisiana, 18751952), “Doorway, French Quarter”, oil on canvas affixed to board, signed lower left, signed, titled and bearing a “Marx, New Orleans” label en verso, 11 7/8 in. x 9 1/8 in., in a period frame. $1000/2000 349 349. Clarence Millet, A.N.A. (American/New Orleans, 1879-1959), “Studio Courtyard”, oil on canvas, signed lower right, exhibition label en verso, 29 7/8 in. x 24 in., in a period frame. $18000/28000 Provenance: According to family history, this painting was exhibited at the Louisiana State Museum in the 1950s. Note: This New Orleans courtyard scene is painted from the same viewpoint as Millet’s work The Shadow, sold in these rooms as lot 537 on October 4, 2003. Millet paints a daytime version of the same courtyard with few minor changes, such as the inclusion of fruit and flowers on the banana tree and the running of the fountain in the lower left corner. The positioning of the foliage is so similar in the two paintings that one could speculate that Millet painted them within the same year, but in different seasons, playing with the atmospheric effects of day versus night and spring versus fall. 350. Horace Day (American/Virginia, 19091984), “Blue Heaven”, oil on canvas, signed lower right, titled on the stretcher bar, and with “The Charleston Renaissance Gallery, Charleston, SC” label en verso, 16 in. x 20 in., in a giltwood frame. $7000/10000 350

W denotes the lot is illustrated at


351. A Large Edgefield Five Gallon Storage Jar, attributed to David Drake, or “Dave the Potter” (American/ South Carolina, early 19th c.), signed “L.M.” at lip, mottled brown and olive green glaze, height 15 1/2 in., diameter 9 in., with a “Harmer Rooke Galleries, New York City” label on interior. $3000/5000 Exhibition History: Sankofa: A Celebration of African-American Arts and Crafts, 1790-1930. The Harriet Tubman Museum, Macon, GA, October 31, 1993-January 17, 1994; DuSable Museum of AfricanAmerican History, Chicago, IL, 1994; The Maryland Historical Society, Baltimore, MD, October 1-December 30, 1995; Louisiana State Museum, New Orleans, LA, 1995


Note: Alternately known as “Dave the Potter,” “Dave the Slave,” and “David Drake” (a name which he took from one of his owners), the enslaved African-American potter who signed his name simply “Dave” on his works has been an interesting figure in the history of Edgefield, South Carolina. His whimsical poems, often incised on the sides of the 354 vessels he created, left a significant amount of historical data for future generations to study, increasing the interest in this enigmatic man; several books have been written on the subject of Dave himself and on Edgefield Pottery in general. This jar bears the signature “L.M.,” for Lewis Miles, one of his owners and the founder of a pottery in Edgefield; Dave often signed his works with just these letters, omitting his own signature. Reference: Todd, Leonard. Carolina Clay: The Life and Legend of the Slave Potter Dave. New York: W.W. Norton and Company, 2008.

W 352. An American Carved Hardwood Caiman, 19th c., the

intricately carved figure with inset ivory eyes and teeth, height 6 1/4 in., width 31 1/2 in., depth 5 in. $500/700 W 353. An American Folk Sculpture-in-the-Round of Cats, height

22 1/4 in., diameter 8 in. $400/600 354. A Newcomb College Art Pottery High Glaze Vase, 1909, decorated by Henrietta Bailey with an incised love-in-a mist motif, the base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, “W” for white clay body, and reg. no. DF64, height 7 7/8 in., diameter 2 1/2 in. $4000/6000



355. A Fine Newcomb College Art Pottery High Glaze Vase, 1908, decorated by Leona Fischer Nicholson with a relief-carved design of orchid tree blossoms, base with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, “W” for white clay body, and reg. no. CE2, height 12 1/2 in., diameter 5 1/2 in. $25000/35000

356. A Newcomb College Art Pottery Matte Glaze Plaque, 1916, decorated by Cynthia Pugh Littlejohn with a relief-carved landscape of moon and moss laden cypress along a bayou, Newcomb cipher and decorator’s mark lower left, with original paper label and reg. no. IC96 en verso, plaque 9 11/16 in. x 6 7/8 in., in a period Arts and Crafts frame. $5000/7000 357. A Newcomb College Art Pottery High Glaze Vase, 1901, decorated by Mary W. Butler with thistles, base marked with Newcomb cipher, decorator’s mark, 1901 date symbol, Joseph Meyer’s potter’s mark, and “Q” for buff clay body, height 4 in., diameter 2 3/4 in.



$6000/9000 358. A Newcomb College Art Pottery High Glaze Vase, 1906, decorated by Marie de Hoa LeBlanc with an incised band of white crocuses, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, “W” for white clay body, and reg. no. BJ29, height 4 1/2 in., diameter 3 1/2 in.


$3000/5000 359. A Newcomb College Art Pottery High Glaze Inkwell, 1906, decorated by Rosalie Urqhart with an incised grove of trees, lacking lid, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, “Q” for buff clay body, and reg. no. BK44, height 3 1/8 in., diameter 3 3/8 in. $600/800


360. A Newcomb College Art Pottery Matte Glaze Vase, 1928, decorated by Sadie Irvine with a relief-carved landscape of moss laden live oak, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, shape no. 33, and reg. no. RF43, height 6 in., diameter 3 3/8 in. $3000/4000 360 W denotes the lot is illustrated at




362. A Newcomb College Art Pottery Matte Glaze Vase, 1932, decorated by Sadie Irvine with a relief-carved moon and moss laden live oak design, base marked with Newcomb cipher, decorator’s mark, Kenneth Smith’s potter’s mark, and reg. no. UC31, height 4 7/8 in., diameter 5 1/2 in. $2500/3500



363. A Newcomb College Art Pottery Matte Glaze Vase, 1923, decorated by Sadie Irvine with a relief-carved band of wild rice, molded lip, base marked with Newcomb cipher, decorator’s mark, shape no. 212, and reg. no. NE6, height 4 1/4 in., diameter 7 1/4 in. $2500/3500 364. A Newcomb College Art Pottery High Glaze Mug, 1903, decorated by Marie Odell Delavigne with an incised stylized pomegranate motif, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, “Q” for buff clay body, and reg. no. AA92, height 4 3/8 in., width 5 1/4 in. $2000/3000 365. A Newcomb College Art Pottery Matte Glaze Vase, 1930, decorated by Sadie Irvine with a relief-carved landscape of moss laden live oak, original paper label, base marked with Newcomb cipher, decorator’s mark, shape no. 4 and reg. no. SI86, height 5 1/8 in., diameter 2 7/8 in.


361. A Newcomb College Art Pottery Matte Glaze Bowl, 1925, decorated with a relief-carved design of antique roses, base marked with Newcomb cipher, decorator’s mark, shape no. 265, and reg. no. ON4, height 4 in., diameter 11 1/4 in. $2500/3500




366. A Newcomb College Art Pottery Matte Glaze Vase, 1930, decorated by Anna Frances Simpson with a relief-carved moon and moss laden cypress tree design, base marked with Newcomb cipher, decorator’s mark, Jonathan Hunt’s potter’s mark, shape no. 326, and reg. no. SE16, height 6 3/4 in., diameter 2 7/8 in. $2500/3500

367. A Newcomb College Art Pottery Handled “Jug” Vase, 1922, decorated by Corinne Chalaron with a relief-carved stylized palmette band and handles, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, shape no. 254, and reg. no. MG33, height 4 1/4 in., width 4 5/8 n. $1200/1800 368. A Newcomb College Art Pottery Matte Glaze Vase, 1929, decorated by Sadie Irvine with a relief-carved abstract radial design, base marked with Newcomb cipher, decorator’s mark, Jonathan Hunt’s potter’s mark, shape no. 26, and reg. no. RN35, height 3/4 in., diameter 5 3/4 in.

367 370

$1000/1500 369. A Newcomb College Art Pottery Matte Glaze Bud Vase, 1919, decorated by Sadie Irvine with motif of windblown crape myrtle trees, base with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, shape no. 212 and reg. no. KM99, height 4 3/4 in., diameter 2 1/2 in.

368 371

$1000/1500 370. A George Ohr Art Pottery Vase, c. 1893-1898, bright berry and green mottled glaze, folded lip over lapped waist and dimpled band, base impressed “G.E. OHR Biloxi, Miss”, height 3 5/8 in., diameter 3 1/8 in. $2500/3500 371. A George Ohr Art Pottery Pitcher, c. 1893-1898, aubergine and green mottled glaze, waisted form with double loop handle, script signature “G.E. Ohr”, height 4 3/8 in., width 4 1/2 in.



$1200/1800 372. A Shearwater Art Pottery Beaker Vase, 1930s, thrown and probably decorated by Peter Anderson, with an incised design of shearwaters in flight, base marked, height 5 3/8 in., diameter 5 1/8 in. $800/1200 W denotes the lot is illustrated at


374. George Rodrigue (American/ Louisiana, b. 1944), “Blue Dog with Flowers”, acrylic on canvas, signed lower left, 20 in. x 15 7/8 in., attractively framed. $15000/25000 Provenance: Purchased from the artist; sold to benefit the St. Francis Animal Sanctuary, Mandeville, LA. 375. Ida Rittenberg Kohlmeyer (American/New Orleans, 19121997), “Symbols on Black #1”, mixed media on canvas, signed and dated “1981” lower right, with an “Arthur Roger Gallery, New Orleans, LA” label en verso, 48 1/2 in. x 72 in., framed.


373. A Rookwood Art Pottery Vase, 1902, decorated by Charles Schmidt with a motif of irises, base marked with Rookwood Pottery cipher, Charles Schmidt’s cipher, date code, “W” for white clay body, pattern 782, and size BB, height 8 1/2 in.








376. Knute Heldner (Swedish/New Orleans, 18771952), “The Harbor, Paris”, oil on canvas, signed and titled “Paris” lower left, penciltitled, illegibly inscribed, and with a newspaper clipping remnant en verso, 21 in. x 25 in., in a period giltwood frame. $2500/3500 377. Henry Russell Wray (American, 1864-1927), “Summerville, South Carolina”, oil on beveled wood panel, signed lower right, signed, titled and dated “August 1923” en verso, 9 1/4 in. x 7 3/8 in., in a giltwood frame. $2500/3500



378. John Kelly Fitzpatrick (American/Alabama, 1888-1953), “Wash Women”, oil on canvas, signed lower right, pencil-titled and bearing labels of “The Charleston Renaissance Gallery, South Carolina” and “Stonehenge Gallery, Montgomery, Alabama” en verso, 12 in. x 16 in., in an attractive giltwood frame. $15000/25000 Note: The Southern artist John Kelly Fitzpatrick spent his entire life in his native Alabama, where he painted charming landscapes as well as scenes of African-American life. Fitzpatrick’s formal art training included a semester at the Art Institute of Chicago in 1912 and a few months at the Académie Julian in Paris in 1926. He developed a style characterized by a vibrant palette and impressionistic brushwork. Fitzpatrick was preoccupied with light and shadow and enjoyed painting en plein air to best capture their effects. The work offered here, “Wash Women”, is a lovely example of Fitzpatrick’s style. The three African-American women standing on the sidewalk each wear a vivid dress representing one of the primary colors. White bales of laundry reflect the sunlight while each figure casts a long shadow.

379. Anne Wilson Goldthwaite (American/ Alabama, 1869-1944), “Victorian Interior”, oil on canvas board, signed lower left, with labels from “Kennedy Galleries, Inc., New York” and “The Charleston Renaissance Gallery, South Carolina” en verso, 18 1/8 in. x 15 1/4 in., in an attractive giltwood frame. $8000/12000

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380. Robert Wadsworth Grafton (American/Indiana, 18761936, active New Orleans, 1916-1920), “Schooners, Luggar’s Landing, New Basin Canal”, oil on canvas board, signed lower left, 16 1/8 in. x 19 7/8 in., in a period frame. $18000/24000 Provenance: Descended in the family of Ernest Lee Jahncke (1877-1960) and Cora Van Voorhis Stanton, New Orleans. Note: Robert Wadsworth Grafton wintered in New Orleans between 1915 and 1928. Very active in the local art scene, he depicted scenes of the Vieux Carré and other historical environs of the city. Like his close colleague Louis Oscar Griffith (American, 1875-1956, active New Orleans, 1916-1917), Grafton beautifully rendered views of the busy New Basin Canal. The St. Charles Hotel commissioned these two artists to paint works for the hotel in the winter of 1916-17. The hotel created a booklet “Souvenir of New Orleans, The Paris of America” which reproduced the paintings they created during this time. The work offered here depicts a luggar tied up along canal. A true work of American Impressionism, Grafton uses soft brushwork and a brilliant palette to convey the clarity of light during winter in New Orleans.


381. Clarence Millet (American/New Orleans, 1897-1959), “The Basin”, oil on canvas board, signed lower left, signed and titled en verso, 10 3/4 in. x 13 1/8 in., in a giltwood frame. $7000/10000 Note: A popular scene for artists such as Clarence Millet, Louis Oscar Griffith, and Robert Wadsworth Grafton, the New Basin Canal was a shipping canal in use from the 1830s to the 1930s, connecting the city to Lake Ponchartrain. Its commercial importance grew throughout the 19th century and up until World War I due to its significance in providing goods to the city; it was closed in 1936 after the Industrial Canal was built. 382. Clarence Millet (American/New Orleans, 1897-1959), “Early Winter”, oil on canvas laid down on board, signed lower right, pencil signed and titled en verso, 10 1/2 in. x 12 7/8 in., in a period frame. $5000/7000 383. Walter Inglis Anderson (American/Mississippi, 19031965), “Golden Rod”, watercolor and graphite on paper, estate stamp lower right, pencil-titled and inscribed “659-2” en verso, 8 1/2 in. x 11 in., matted, unframed.





384. Ida Kohlmeyer (American/New Orleans, 1912-1997), “Diminutive #10”, oil on canvas, signed and dated “1988” lower left, titled en verso, 4 1/4 in. x 11 in., framed. $2500/3500 385. Noel Rockmore (American/New Orleans, 1928-1995), a highly important archive of 11 watercolor and ink drawings, each on paper, all from the Inaugural Jazz and Heritage Festival April 24-26, 1970 featuring Sister Gertrude Morgan (American/New Orleans, 1900-1980); remaining in the Strathmore drawing pad and including: “Festival Notes-Gospel Tent The Throne of God”, signed and dated “1970” lower right, titled upper center and right; “Sister Gertrude Morgan in the Gospel Tent”, signed and dated “1970” lower right, titled upper left, and mid-right; “The Gospel Tent”, signed lower right, titled upper left; “The Throne of God Sister Gertrude”, signed and dated “1970” lower right, titled lower right; “Sister Gertrude Addressing the Bible”, signed, titled and dated “1970” upper right; “At the Festival”, signed, titled and dated “1970” lower right; “The Gospel Singer-Festival”, signed and dated “April 24, 1970” lower right, titled lower left; “In the Gospel Tent”, signed and dated “April 24, 1970” mid-right and lower left, titled lower right; “Teaching Gospel Tent Sister Gertrude”, signed and dated “1970” lower left, titled lower right; “Marching Band at Festival”, signed, dated “April 24” and titled lower right; “Platform at Festival April 24”, signed lower right and titled lower left, each 11 in. x 14 in. $7000/10000

385 (4 of 11)

386. 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, and signed and titled on old backing board affixed en verso, sight 20 in. x 16 in., attractively matted and framed. $7000/10000 386

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387. Will Henry Stevens (American/New Orleans, 18871949), “River Pilings, New Orleans”, pastel on paper, signed lower right, 17 in. x 13 1/2 in., matted and framed. $3000/5000 Note: Modernist artist Will Henry Stevens depicted realistic scenes of New Orleans in the 1930s. A favorite theme was views of the Mississippi River. In the drawing offered here, Stevens places a tall group of pilings in the foreground. A line of ships is docked on the horizon line under a dramatic cloudy sky. The strong geometry present in this work is a harbinger of Stevens’ abstract style that he develops in the 1940s.



388. Jean Seidenberg (American/New Orleans, b. 1930), “Charlotte as Flora”, egg tempera on masonite, signed and dated “1983” lower left, signed, titled and dated en verso, 32 in. x 36 1/4 in., attractively matted and framed. $12000/18000 Note: In 1981 New Orleans artist Jean Seidenberg married Charlotte, a garden writer and naturalist. He painted a series of portraits of Charlotte that convey her love of flowers as well as their blossoming relationship. The work offered here, painted in 1983-84 and titled “Charlotte as Flora “ depicts his wife wearing a wreath of ivy and a floral embroidered blouse. To her right is a bouquet of brightly colored flowers. On her outstretched left arm sits a parakeet. This major composition is reproduced in the monograph on Jean Seidenberg published by the Louisiana Endowment for the Humanities last year. Reference: Jean Seidenberg: Paintings, Drawings, Sculpture, New Orleans: Louisiana Endowment for the Humanities, 2009, p. 67. “Jean Seidenberg: A Brush with the Intimate”, Louisiana Cultural Vistas, Spring 2008, Vol. 19, No. 1, p. 10.

389. Mignon Faget (American/New Orleans, 20th c.), A Rare Suede Block Printed Vest, c. 1970, entirely made by the artist’s own hand. $500/750 Note: The Historic New Orleans Collection’s recently-opened exhibition “Mignon Faget: A Life in Art and Design” features more than 400 objects including textiles, jewelry, prints and drawings.



W 390. Two Mignon Faget Vests, c. 1970, labeled,

decorated with silver metal studs in geometric designs. $300/500



391. William Woodward (American/New Orleans, 1861-1939), “New Orleans Courtyard”, oil on canvas, signed lower left, 20 in. x 16 in., in a period frame. $10000/15000 392. Hunt Slonem (American/ Louisiana, b. 1951), “Non Panels”, oil on board, signed, titled, dated “2010” and inscribed “Albania” en verso, 25 in. x 20 1/8 in., in a giltwood frame. $2500/3500 393. George David Coulon (American/New Orleans, 1822-1904), “Louisiana Birds Male Robin”, 1881, oil on academy board, initialed and dated lower right, titled and inscribed “Painted from Nature by Coulon, 378 North Claiborne Ave., N.O.” en verso, 15 1/4 in. x 11 in., in a period giltwood and gesso frame. $2500/3500



394. Eliot Candee Clark (American/Virginia, 1883-1980), “Virginia Farmhouse”, oil on canvas, signed, dated “1980” and inscribed “For M.C.” lower right, stamped “Eliot Clark (289) Estate” twice en verso, 25 3/4 in. x 26 1/8 in., in the artist’s original frame. $4000/6000 Note: Son of the tonalist landscape painter Walter Clark (1848-1917), Eliot Clark was immersed in the art world as a child. He often spent summers traveling with his father to art colonies in the Northeast where he was introduced to such talented and esteemed artists as Edward Potthast and John Henry Twachtman. After traveling extensively and establishing a career as an artist, Clark moved to the countryside near Albemarle, Virginia, in 1959. There the tranquil and peaceful lifestyle appealed to Clark and he painted the surrounding sights and landscape. In this evocative painting of a Virginia farmhouse, Clark captured the quiet moment as the sun rises and the day just begins.

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396. An Antique Southern Walnut Cupboard, mid-19th c., flared cornice, a pair of arched glazed doors, the lower case with three bolection-molded drawers above two paneled doors, tapered pilasters with heart shaped terminals, scroll feet, height 90 in., width 60 in., depth 21 in. $2000/3000


395. Clementine Hunter (American/Louisiana, 1886-1988), “The Wedding”, oil on board, monogrammed lower right, inscribed “Pat Henry, Jan. 6, 1971” en verso, 16 in. x 24 in., framed. $3000/5000

397. John McCrady (American/New Orleans, 1911-1968), “Dancing Trees - Colorado - 1949”, screenprint on paper, pencilsigned, titled, and dated “1949”, signed in plate, with a typewritten label en verso, 11 7/8 in. x 17 1/2 in., matted. $2000/3000 398. Louis Oscar Griffith (American, 1875-1956, active New Orleans, 1916-1917), “Street Gossip”, color aquatint on paper, pencil-signed and inscribed “No. 11”, titled and inscribed, and with an “H. Lieber Company, Indianapolis” label en verso, sight 8 3/4 in. x 10 1/2 in., matted and in a period frame. $800/1200




399. Sarah (Sadie) Agnes Estelle Irvine (American/New Orleans, 18861970), “Evening, Lake Ponchartrain”, woodblock print on paper, pencil-signed and titled, sight 10 1/2 in. x 16 in., matted and framed. $3500/4500 402

400. William Woodward (American/New 403 Orleans, 18591939), “On Bayou St. John Near Bell St. in 1889”, etching on paper, pencil-signed, inscribed “1st proof” and dated “’34” in the plate, with a “Staub’s, Mobile, AL” label en verso, 8 1/2 in. x 11 5/8 in., framed.

403. Walter Inglis Anderson (American/ Mississippi, 1903-1965), “Pine Cones”, ink on paper, estate stamp lower right, pencil-titled, and inscribed “25a3-D” and with “The Whistle Stop, Ocean Springs, MS” label en verso, 10 7/8 in. x 8 1/2 in., matted and framed; together with a July 10, 1991 certificate of authentication from the Estate of Walter Anderson.

$1000/1500 Note: Reproduced in William Woodward’s William Woodward’s French Quarter Etchings of Old New Orleans, Magnolia Press, New Orleans, pl. 52. 401. William Woodward (American/New Orleans, 18591939), “Au Rendezvous Des Compagnons De L’Art Culinaire”, etching on paper, pencil-signed, signed and dated “’34” in plate, 14 in. x 9 3/8 in., framed. $1000/1500 Note: Reproduced in William Woodward’s French Quarter Etchings of Old New Orleans, Magnolia Press, New Orleans, pl. 1. 402. William Woodward (American/New Orleans, 18591939), “Luggar Landing Exchange - French Market”, etching on paper, pencil-signed and inscribed “1st proof”, signed and dated “’38” in the plate, 11 in. x 15 in., matted and framed. $1000/1500

$2500/3500 401

Provenance: Purchased from the Anderson Family, c. 1985.

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405 404

406. Clarence John Laughlin (American/ New Orleans, 19051985), “Plantation Boy: 1951”, silver gelatin print drymounted on board, signed, titled and dated “1951”, stamped, numbered “1” and inscribed “This Print made by C.J.L. on 12/10/79” on label en verso, image 13 1/2 in. x 10 5/8 in., sheet 13 7/8 in. x 11 1/8 in., unframed. $1000/1500 W 407. Eudora Welty

(American/ Mississippi, 19092001), “Bowen’s Court, County Clark/ Ireland/ 1950s”, silver gelatin print, stamped “Eudora Welty” en verso, image 6 1/4 in. x 6 1/8 in., sheet 10 in. x 8 in., unframed; accompanied by Eudora Welty Photographs, 1989, University Press of Mississippi, stamped edition “KK” and signed, in a presentation case. $600/900 Note: This photograph is illustrated in the accompany­ ing book as plate 184.

406 408 404. William Woodward (American/New Orleans, 1859-1939), “Newcomb College Cellist”, watercolor and mixed media on board, initialed lower right, 12 in. x 7 7/8 in., attractively matted and framed. $1200/1800 Provenance: Reproduced in Painting the Town: The Woodward Brothers Come To New Orleans, Jean Bragg Gallery, New Orleans, p. 108.


405. Ernest J. Bellocq (American/New Orleans, 1873-1949), “Untitled, c. 1912 Storyville Woman Seated by Dresser, Face Effaced”, silver gelatin print, unsigned, 13 7/8 in. x 11 in., unframed. $2500/3500 Provenance: Estate of Al Rose from Larry Borenstein, New Orleans. Note: Printed from a glass plate negative by Dan Leyrer in the early 1960s.

408. Clarence John Laughlin (American/ Louisiana, 19081985), “Figure with Mutating Face”, 1941, silver gelatin print, signed lower right, titled and dated on mat, 13 1/2 in. x 10 1/2 in. $1500/2500

409. [New Orleans Blue Book and Historical Guide], Blue Book, early 20th c., soft cover, undated, unpaginated, filled with advertisements from the French Quarter “sporting district”, together with Historical Sketch Book and Guide to New Orleans and Environs, edited by writers of the New Orleans Press, published by H. Coleman, NY, 1885, soft cloth, 324 pgs, with scarce “World’s Cotton Industrial and Cotton Centennial, Exposition, New Orleans” map, folded.

409 410

$1000/1500 412. A Good Pair of Cohen Family Forged Iron Andirons, late 19th c., Savannah, GA, sheet-cut standards, forged log rests, height 15 in., width 6 in., depth 13 in.

410. [New Orleans Creoles], Sherwood Anderson & Other Famous Creoles, A Gallery of Contemporary New Orleans, 1926, drawn by W. M. Spratling, arranged and forward by Wm. Faulkner, published by Pelican Bookshop, Royal Street, New Orleans, green paper boards with paper title label, first edition, second issue, with numerous, witty portrait illustrations by Spratling, some signed, dedication illustrations on endpapers by artists Pierre Menager (French, 1894-1973) and Boyd Cruise (American, 19091988).

$700/1000 413. An American Walking Stick, 19th c., handle carved in the form of an AfricanAmerican man’s head, height 35 3/4 in. $600/900 414. An American Painted Wood Walking Stick, 19th c., the handle carved in the form of an African-American man’s head wearing a top hat, height 35 1/4 in.

$1000/1500 412


W 411. A Rare

Pair of French Tin Glazed Earthenware Standing Lion Candlesticks, early 19th c., of left and right form with bead decorated oval base, height 9 1/2 in., length 7 3/4 in.



414 W denotes the lot is illustrated at


416. An American Federal Walnut Youth Bed, early 19th c., the full tester above wellturned tapered posts, shaped head and footboard, spindled rails, height 66 1/2 in., length 43 1/2 in., width 24 in. $600/900 Provenance: Ducros Family, Belmont Plantation, West Baton Rouge Parish, LA.




415. Anthony Meucci (Italian, late 18th/early 19th c., active New Orleans, 1818-1827), “Portrait of Pascuala Concepción Muñoz Castrillón, mother of José Maria Córdoba, Hero of Ayacucho”, c. 1830, gouache on ivory miniature, signed “A. Meucci, Pinxet” lower left, 3 1/2 in. x 2 1/2 in., in an ornate period hand-carved wood frame. $3000/5000 Provenance: Descended in the family of the sitter. Note: This large and impressive miniature represents the mother of the celebrated hero of the Wars for Independence of Colombia, Jose Maria Cordoba. It was painted when Meucci left New Orleans for Havana and the Colombian coast, where he arrived in 1830. It is enlivened by a view of the sea, and may have been painted with reference to Pascuala’s surviving house in Barbosa (the province of Antigua has a brief area of coastline). Two of the most impressive of Meucci’s works on paper--a Washington and a Lafayette--were sold in Neal Auction Company’s salerooms on December 3, 2005.


417. An Important American Classical Mahogany Sofa, c. 1840, attributed to Thomas Day, North Carolina, ogee crest rail, tall outswept arms, bolection seat rail, molded plinth, scroll feet, height 33 in., width 96 in., depth 25 in. $7000/10000 Exhibition History: “Sankofa,” various exhibitions, including Harriet Tubman African-American Museum, Macon, GA; Hampton University, Hampton, VA; The African American Museum, Dallas, TX; and others. Note: A remarkably similar sofa with the same crest rail, scrolled arms, and seat rail as the present lot is conserved at the Detroit Institute of Arts, the boldly scrolled feet pictured here differing from the bracketed feet in Detroit. Reference: Several related Thomas Day sofas are illustrated in Marshall, Patricia P. and Jo R. Leimenstoll. Thomas Day: Master Craftsman and Free Man of Color. Chapel Hill: University of North Carolina Press, 2010, pp. 85, 103-104.


418. An American Carved Mahogany Rocking Chair, mid-19th c., attributed to Devereaux Day, chalk inscription “D. J. Day” under seat, tall shaped back, padded arms on bold scroll supports, serpentine seat, saber leg rocker base, height 40 in., width 30 in., depth 24 in. $5000/7000 Exhibition History: “Sankofa,” various exhibitions, including Harriet Tubman African-American Museum, Macon, GA; DuSable Museum, Chicago, IL; Louisiana State Museum, New Orleans, LA, Dec. 1994-Mar. 1995; The Maryland Historical Society, Baltimore, MD; Hampton University, Hampton, VA; The African American Museum, Dallas, TX; and others; The New Orleans African American Museum of Art, Culture, and History, New Orleans, LA. Note: Thomas Day’s elder son, Devereaux (b. 1833), helped his father in his workshop during his teens; both Thomas and Devereaux are listed as cabinetmakers in the 1850 United States Federal Census. The current lot is one of the pieces Devereaux worked on in 1850-51 before he left his father’s workshop to attend Wesleyan Academy in Wilbraham, Massachusetts, which was a religious preparatory institution run by abolitionist Methodists. This rocking chair is similar to some of Thomas Day’s later rockers, with its low seat, curved back, and cut-out sides. Reference: Reproduced in Marshall, Patricia P. and Jo R. Leimenstoll. Thomas Day: Master Craftsman and Free Man of Color. Chapel Hill: University of North Carolina Press, 2010, p. 98.

419. An American Late Classical Mahogany Secretary Bookcase, c. 1840, attributed to Thomas Day, North Carolina, projecting cornice, inset arch frieze, two glazed doors with opposing scroll mullions, shelf interior; lower case with outset escritoire drawer with fitted interior, over three drawers flanked by scroll stiles, scroll feet, old pencil inscription inside top drawer, “made Sept 29, 1841/brought to Lowryville, Aug. 24, 1899”, height 90 in., width 45 in., depth 23 in. $12000/18000 Exhibition History: “Sankofa,” various exhibitions, including Harriet Tubman African-American Museum, Macon, GA; DuSable Museum, Chicago, IL; Louisiana State Museum, New Orleans, LA, Dec. 1994-Mar.


1995; The Maryland Historical Society, Baltimore, MD; Hampton University, Hampton, VA; The African American Museum, Dallas, TX; and others. Note: The word “Sankofa,” is an Akan word meaning “go back and take;” when combined with the proverbial Adinkra heart-shaped symbol, Sankofa represents the idea of learning from the past to move forward. This idea has been incorporated into many modern Afro-centric organizations in America, including the traveling exhibition of 19931998, “Sankofa.” It is interesting to note that the scrolls that Thomas Day used in the upper doors of the current lot bear a marked resemblance to the Adinkra symbol for Sankofa. A nearly identical secretary bookcase is pictured in Patton, Sharon F. African-American Art. New York: Oxford University Press, 1998. Special thanks to Patricia Marshall (1958-2010) for her assistance in this catalogue entry and her contributions to the field of North Carolina Decorative Arts, particularly focusing on the life and furniture of the historic African American cabinetmaker Thomas Day. Reference: Marshall, Patricia P. and Jo R. Leimenstoll. Thomas Day: Master Craftsman and Free Man of Color. Chapel Hill: University of North Carolina Press, 2010; Barfield, Rodney D. and Patricia Marshall. Thomas Day: African-American Furniture Maker. Raleigh: North Carolina Office of Archives and History, 2005.

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422. A Georgia or South Carolina Gullah Sweetgrass Cake Basket, c. 1880, covered, round with flat lid, coiled reed and string design, height 9 in., diameter 17 1/2 in. $2500/3500



420. [African American New Orleans], Office de la Semaine Sainte..., prayer book, 1750, published by Jean-Thomas Herissant, Paris, gilt-tooled full calf, in modern, custom leather and cloth chemise, with ink inscription of Jeanne Marie Aliquot. $1800/2500 Provenance: Ex-Collection of Stanley Guerin, Ursuline Convent, New Orleans, archivist. Note: Jeanne Marie Aliquot was a wealthy Caucasian Parisian immigrant to New Orleans. She was benefactress of the Sisters of the Holy Family, the order of African American nuns founded by Henriette Delille in 1836, and helped to establish a school for “les gens du coleur libres” near present day St. Augustine Church. Aliquot, who legend has it, was rescued from the Mississippi River by an African slave after she slipped from the gangplank on her arrival in New Orleans from Paris, dedicated her life to the service of poor African people, both enslaved and free, and lived much of her life in New Orleans traveling to outlying plantations, teaching slave children. In Baudier, The Catholic Church in Louisiana: “Miss Aliquot, true to her promise, helped the sisters in every way. Though she did not become a member of the Congregation of the Sisters of the Holy Family (This is disputed in other accounts, which say she did. B.G.), she made her home with them… It is only regrettable that due credit and recognition have never been given to her and that so little is known of her.” 421. A Good Early American Yellowware Lidded Pitcher, 19th c., in the form of a bundle of corn, ribbed handle, green and ochre glaze, unmarked, height 12 1/2 in. $700/1000

Note: Only in the past thirty years or so has the craft of basketry become widely 423 acknowledged as an art form. With its roots in Africa, Gullah basketry came to America by the enslaved Africans brought to the Lowcountry of South Carolina and Georgia. Whereas many of the baskets made were purely functional and therefore were discarded once they became damaged or worn, in the 1980s, museums began collecting both work baskets and fancy baskets, admiring them for their shapes, the tightness and regularity of the rows, and the function they 421 served. In the book Grass Roots: African Origins of an American Art, Theodore Rosengarten states: “It is the way of the world that as coiled baskets have lost their usefulness and given way to metal, wood, and plastic containers, they have gained stature and value as objects of admiration.” In this way, the baskets that are so rooted in the Gullah culture have become elevated to the status of works of art. Reference: Rosengarten, Dale, et. al. Grass Roots: African Origins of an American Art. New York: Museum for African Art, 2008.

423. A Georgia or South Carolina Gullah Sweetgrass Sewing Basket, c. 1880, covered, round with domed lid, one handle, coiled reed and string design, height 13 in., diameter 15 in. $2500/3500 W 424. Two Georgia or South Carolina Gullah

Sweetgrass Bread Baskets, 20th c., the larger of circular form; the smaller of oval form, both with two handles, larger: height 2 1/2 in., length 11 in.; smaller: height 1 1/2 in., length 7 in. $300/500


425. An American Indigo, Madder and White Hand-Woven Center-Seamed Wool and Cotton “Overshot” Coverlet, mid19th c., in a geometric design with applied fringe, 73 in. x 76 in. Note: Fading and wear. $500/750


Provenance: Acquired from the antiquarian Alex Raskin, Savannah, GA.


Note: Over the last 30 years, a number of historians and archeologists have documented the presence of African construction, aesthetic, and cultural traditions in African American crafts. The practice of hand-weaving by enslaved Africans in America also follows this same historical trajectory. Interviews of former slaves conducted during the 1930s provide a rich narrative of hand-weaving in African American communities at the time of emancipation. Most examples of hand-woven coverlets created during the mid 19th century were constructed in a weaving technique called “overshot.” With a cotton tabby weave acting as a ground or base cloth, overshot construction is based on a series of design blocks woven with a supplemental weft yarn. A centuries-old history of overshot construction has existed in many parts of West Africa. Stripe patterns in American coverlets in many ways mimic the patterned strips that make up West African hand-woven strip cloth, as seen in the present lot. This weaving technique, along with the knowledge to process raw cotton and dye stuffs, was brought to the Americas by skilled African artisans - who were enslaved by their captors to build all aspects of a New World. Special thanks to textile consultant Camille Ann Brewer for her assistance in this catalogue entry. Reference: Bolland, R., Bedaux, R.M. & Boser-Sarvaxévanis, R. Tellem textiles: archaeological finds from burial caves in Mali’s Bandiagara Cliff. Amsterdam: Tropenmuseum/Royal Tropical Institute, 1991; Strickler, C. American woven coverlets. Loveland, CO: Interweave Press, 1987; Windeknecht, Margaret B. Creative Overshot. Freeland, WA: HTH Publishers, 1978.

W 426. An American Black, Madder, and White Hand-Woven

Triple-Seamed Wool and Linen “Overshot” Coverlet, mid-19th c., in a geometric design dominated by squares, 86 in. x 83 in. Note: Some staining. $500/750 W 427. A Finely Embroidered Processional Banner, “The

Immaculate Virgin”, probably American/Southwest School, the Virgin embroidered with a border of morning glories and roses, and the face and hands finely painted, with mixed media on white silk, 56 1/2 in. x 34 3/4 in., framed. $800/1200 428. An American Inlaid Maple Blanket Chest, mid-19th c., Ohio, the back with ink inscription “Banf.Rands”, single panel top with molded edge, interior fitted with a side compartment, dovetail case, plinth with two drawers, bracket feet, interior with old pencil inscription “Presented to Dr. Eggleston by his aged mother Mary A. Eggleston...Feb. 15, 1898. This chest was made by Samuel Lager of Trimbal Co. Ohio, Uncle of Peter Bash”, height 33 in., width 46 1/2 in., depth 22 in. $1200/1800


429. An American Gothic Carved Mahogany Child’s Chest, early 19th c., Boston, oval mirror on shaped supports, the top with backsplash, over four drawers, rounded corners, bun feet, height 53 1/2 in., width 29 in., depth 16 in. $1000/1500 W denotes the lot is illustrated at


431. Cordray Parker (American/ Alabama, 19342007), “Giulis”, 20th c., sculpture of bronze, iron and mixed media, on self-base, height 28 in., depth 11 in., width 10 in. $3500/4500 Provenance: Purchased from the artist. Note: A Birmingham based sculptor, Parker studied in Florence and Vienna. Inspired by the architecture and ancient ruins of Europe, Parker developed an artistic approach best described by the artist himself, “I became fascinated by ruins and fragments...I suppose what I try to capture is the 431 contemporary condition of ancient pieces.” Often incorporating architectural and figural elements with steel support rods, Parker suggests the restoration scaffolding that has encompassed many ancient structures at one time or another. The effectiveness of this unusual technique is evident in the present lot, where the various, seemingly unrelated parts are joined into a cohesive unit by the surroundings of steel.


430. Meta Vaux Warrick Fuller (American/ Philadelphia, 1877-1968), “The Water Boy”, 1930, painted plaster, initialed in monogram “MVWF” on base, inscribed “Dorothy Warrick” on white-painted bottom of base, height 12 1/4 in., width 6 in., depth 4 1/2 in.

Reference: Ruth Reuse. “The Fragmented Life”. Limelight. pp. 5-8.


432. Clyde Connell (American/ Louisiana, 1901-1998), “Lake Vertical”, mixed media on canvas laid down on wood panel, signed, titled, and inscribed “Lake Bistineau, McDade, La” en verso, 11 7/8 in. x 11 7/8 in.

Provenance: Ex-Collection of Dorothy Warrick, Philadelphia, PA; to current owner. Note: This is a rare cast of a wellknown work by a prominent AfricanAmerican woman artist, Meta Vaux Warrick, who married Dr. Simon Fuller (1871-1957) of Liberia in 1909. 432 This exceptional plaster, finished in gold paint, may be more richly worked than the version in unpainted plaster (collection of Simon Fuller) usually illustrated in discussions of her work; it was certainly retained by her niece, Dorothy Warrick, who inscribed the lower block of the base. The artist had been a student at the Pennsylvania Academy of Fine Arts, and then in Paris at the École des Beaux-Arts, and eventually with the most celebrated sculptor of the age, Auguste Rodin in 1902-1903. This figure is indicative of the powerful style of Romantic Realism which Fuller brought to the sculpture of African experiences in America. Reference: Schmidt, Mary, ed. Harlem Renaissance Art of Black America. Campell: New York, 1987, pp. 177-179, color plate 24.


$1000/1500 Note: On the topic of “naming” for an abstract series, Clyde Connell remarked “Lake Verticals, yes, because of the shadows of the trees and the certain other colors; they are straight up and down and they continue down into the water, that’s where I got the name, Lake Verticals”. W 433. Clyde Connell (American/Louisiana, 1901-1998), “Lake Vertical”, mixed media on wood panel, signed, titled, inscribed “Lake Bistineau, McDade, La” and with the artist’s label en verso, 8 1/4 in. x 7 3/4 in.





W 437. James

McConnell (Mac) Anderson (American/ Mississippi, 1907-1998), “The Vine”, watercolor and ink on paper, initialed and dated “’74” lower right, with a “Brown’s, Jackson, MS” label en verso, sight 5 3/8 in. x 3 5/8 in., attractively matted and framed.

434. John Roderick Dempster MacKenzie (American/Alabama, 1865-1941), “Scene in Benares, India”, 1904, oil on panel, signed, inscribed and dated “Benares 1904” lower left, 6 in. x 3 3/4 in., in a period cove-molded giltwood and gesso frame. $1200/1800 Note: Born in London, artist and muralist John Roderick Dempster MacKenzie spent part of his youth in a Mobile, Alabama orphanage, and went on to study at some of the finest schools in the United States and France. He later spent much time in India. He returned to Mobile, where he executed a widely acclaimed series of pastel drawings and paintings of the steel mills in Birmingham, Alabama. During his lifetime he was considered one of Alabama’s most important artists. In 1892, MacKenzie and his wife traveled to India at the request of art dealers in Calcutta who wanted him to paint pictures of tigers and jungles that were popular at the time. They spent the next fourteen years in India, and MacKenzie received commissions for state and ceremonial portraits and elaborately staged hunts. He painted and made prints of the peoples and sights of India including market scenes, temples and the Taj Mahal. The editors of Men and Women in India labeled him the best artist in Asia in 1905. The 1904 work offered here depicts a scene along the river in Benares. Softly rendered in muted tones, figures sit on a wall along the river while boats are active on the water. After MacKenzie’s return to Europe in 1906, these works created in India were exhibited in London and Paris. The Mobile Museum of Art presented a retrospective exhibition of his work in 1997.


435. Marie Atkinson Hull (American/Mississippi, 1890-1980), “Still Life with Zinnias”, watercolor on paper, signed lower right, with a “Nunnery’s Gallery, Jackson, MS “ label en verso, sight 21 3/8 in. x 15 3/8 in., attractively matted and framed. $1000/1500 436. John Kelly Fitzpatrick (American/Alabama, 18881953), “The Docks at Dixie Art Colony, Alabama, Gulf Coast”, watercolor on paper, pencil-signed lower right, with a “Nunnery’s Gallery, Jackson, MS” label en verso, sight 13 1/4 in. x 17 3/8 in., attractively matted and framed.

$300/500 438. An American Carved and Painted Figure of “Uncle Sam”, late 19th/ early 20th c., retaining original paint surface, height 29 in., width 12 in., depth 7 in. $800/1200


Reference: John Roderick Dempster MacKenzie (1865-1941): A Retrospective, Mobile Museum of Art, 1997. www.encyclopediaofalabama. org.

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440. Frank Hayden (American/ Louisiana, 1934-1988), “Bust of a Woman”, terracotta sculpture, signed, mounted on a wood base, height 15 1/2 in., overall height 22 1/2 in., width 10 1/2 in., depth 9 in. $3000/4000


439. Mahonri Macintosh Young (American, 18771957), “The Boxer Joe Louis”, terracotta bust, signed at bottom right of neck, height 15 1/4 in., width 12 in., depth 11 1/4 in. $3000/5000 Note: Young was born to a prominent Utah family; his grandfather was the religious leader Brigham Young. He attended the Art Student League in New York and the Académie Julian in Paris, where he decided to concentrate on sculpture. Realizing he could not support himself in his native Utah, Young eventually chose New York as his permanent home, relocating to the city in 441 1910. Young was associated with the gritty, realistic Ashcan School and was described as “the George Bellows of Sculpture” by Life Magazine in 1941. Young created sculptures depicting the struggling working class, imbuing his figures with a sense of dignity and nobility. His series of bronze sculptures of boxers brought him national and international acclaim, and he was commended for his refusal to glamorize or soften his portraits. The present lot is likely a prototype for Young’s bronze of the Alabama-born Joe Louis, World Heavyweight Boxing Champion from 1937-1949. In this work Young has captured a sense of the strength and determination for which Louis was known.


Note: Frank Hayden is one of Louisiana’s preeminent sculptors. He is best known for his public commissions, many of which may be found in churches, synagogues, and banks throughout Baton Rouge. Major works also may be viewed at Louisiana 440 State University, Southern University, and at the Galvez and Riverfront Plazas in downtown Baton Rouge. Hayden was a native of Memphis, TN, and completed his undergraduate studies at Xavier University in New Orleans; he continued at Notre Dame, where he studied with sculptor Ivan Mestrovic. He was also a recipient of the prestigious Fulbright scholarship. Hayden moved to Baton Rouge in September 1961 and was on the faculty at Southern from that time until he was named Southern’s first Distinguished Professor in 1986. Hayden’s sculptures, made of wood, plaster, fiberglass, or stone, reflect deep spiritual and humanistic concerns including fellowship, family, Christian values, war, and civil rights. Although primarily figurative, his sculptural forms are stylized and often abstracted, and their surfaces are sometimes inscribed with words. Hayden’s work does not often appear for sale in the marketplace. About his art, Hayden said, “My art does not recognize a hierarchy of ideas and materials. It simply saturates existence into a significant form. That form has been achieved through long and difficult reflection or drawn from the possibilities and concerns of the moment. In either case, the prospect of beauty is constant and is all that is needed to guide my hand and heart.” The Louisiana Art & Science Museum in Baton Rouge recently held an exhibition of Hayden’s work. 441. Achille Perelli (American/New Orleans, 1822-1891), “Antlered Head of Stag”, polychromed plaster, signed en verso, height 35 in., width 25 1/2 in., depth 16. $1500/2500

442. Enrique Alferez (American/New Orleans, 1901-1999), “The Source”, c. 1931, plaster maquette for The Shriever Fountain in the Botanical Garden, City Park, New Orleans, height 88 in., width 9 1/2 in., depth 9 1/2 in. $7000/9000 Note: The talented and beloved Mexican-born Alferez had a colorful and varied career before settling in New Orleans in 1929. The son of an artist, Alferez spent time with Francisco “Pancho” Villa during the Mexican Revolution (1910-1920), joining Villa’s army at the young age of twelve. Alferez eventually moved to the US, working in Texas before making his way to Chicago to study art under the revered sculptor and educator Lorado Taft (1860-1936) at the prestigious Art Institute of Chicago. Taft had personally invited the young Alferez to Chicago, after seeing his work during a Lecture Tour of the South. Admired for his elegant, stylized figural sculptures, Alferez’s work is to be found throughout his adoptive New Orleans, most especially in the Botanical Garden of City Park. Alferez, then involved with the Works Progress Administration (WPA) as its New Orleans Director, along with the architect Richard Koch and the landscape artist William Wierdorn, was instrumental in the designing, planning and eventual construction of the Park, which soon became one of the artistic highlights of the city. The work offered here is the model for one of the first sculptures commissioned for the Garden - the female figure at the center of the Shriever Fountain.


W 445. John Clemmer (American/

Louisiana, b. 1921), “From the Right”, oil on masonite, signed lower right, with an “Orleans Gallery, New Orleans” label en verso, 10 5/8 in. x 21 3/8 in., in a period frame; and “The Sphere”, ink on paper, signed and dated “70” lower right, 10 in. X 9 7/8 in., matted and framed. $800/1200

Inspired by the human figure, Alferez’s sculptures are able to simultaneously convey a sense of dignity while suggesting an undercurrent of intense emotion. There is a vitality and urgency to his work that reflects the soul of his adopted city.

W 446. Anne MacKinne Robertson

(American/New Orleans, 1887-1959, active Newcomb College, 1903-07), “Coastal Seascape”, oil on canvas, initialed lower right and signed en verso, 25 1/4 in. x 30 in.

In his later years, Alferez divided his time between New Orleans and Mexico. In 2006, the Krewe of Rex Parade “Beaux Arts and Letters” included a float honoring Alferez.


References: LA Times Obituary, Sept 17, 1999; NY Times Obituary, Sept 15, 1999.

447. Alberta Kinsey (American/New Orleans, 1875-1952), “French Quarter Courtyard”, oil on canvas board, signed lower right, 18 in. x 14 in., in a period giltwood frame.

W 443. Tom Secrest (American/

Louisiana, b. 1942), a pair of pen, ink, and wash drawings on paper, including “The Profile” and “Upward”, each signed lower right, each 12 1/4 in. x 8 7/8 in., both unframed.

$2000/3000 W 448. A Newcomb College Pierced Brass

Lamp and Shade, with mica shade insert, the shade with motif of figures lighthouses, the base with thistles, overall height.

$800/1200 Reference: Hancock, “Tom Secrest, Exhibition Catalog”, Cue Art Foundation, 2008.

$600/900 Provenance: Estate of Rosalie Roos Wiener, Trianon Place, New Orleans.

W 444. Anne Wilson Goldthwaite

(American/Alabama, 1869-1944), “Bull Ride”, watercolor and charcoal on paper, pencil-signed lower left, sight 13 1/2 in. x 17 1/8 in., matted and framed.

W 449. A Daum Pate de Verre Peacock,

modeled by Guy Petitfils (French, b. 1927), stamped “Daum” and artist signature, etched no. 168/300, height 14 1/4 in., width 12 3/8 in., depth 3 3/4 in.

$800/1200 442


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451. A Burmantofts Faience (18821904) Majolica Jardinière and Pedestal, the jardinière in the form of a nautilus shell, the pedestal reeded on a stepped base, vibrant chrome yellow, pedestal height 26 in., shell width 19 in. $1000/2000 W 452. A Fine

450 (2 of 10)

Antique Floral Appliqué on Brocade, silk floral design stitched to celadon silk brocade ground, silks retaining color intensity, flowers including honeysuckle, sight 31 1/2 in. x 41 1/2 in., attractively matted and framed.


$1200/1800 453. A Pairpoint Puffy Reverse Painted Floral and Butterfly Lamp, cubic shade resting on original faceted Art Nouveau base, shade signed, base stamped and numbered “B3001”, overall height 21 1/2 in., shade 13 1/4 in. square. $8000/12000 W 454. A Partial Set


of Antique Baccarat Panel-Cut Crystal Stemware, unmarked, comprising 10 tumblers, 12 juice glasses, 12 cordials, 12 sherries, 12 champagnes, 10 ports, and 21 wines of various sizes. (89 pcs.)


$1500/2500 450. An American Portfolio of Contemporary Prints, “NY International”, 1966, published by Tanglewood Press, Inc., New York, numbered 155/200, introduction by Henry Geldzahler, including works by Arman, Mary Bauermeister, Öyvind FahlstrÖm, John Goodyear, Charles Hinman, Allen Jones, Robert Motherwell, Ad Reinhardt, James Rosenquist and Saul Steinberg; together with a canister of objects to accompany one of the prints, most prints signed and numbered, each 22 1/4 in. x 17 in., in a presentation box.

455. A Russian Bronze of a Cossack Warrior, late 19th c., after Evgeni Alexandrovich Lanceray (Russian, 1848-1886), cast signature in Cyrillic, foundry mark of “F. Chopin”, height 17 1/2 in., width 18 in., depth 6 1/2 in.





457. A Russian Bronze of a Cossack, late 19th c., inscription in Cyrillic, height 15 1/2 in., width 11 1/2 in., depth 4 1/2 in., on a black marble base. $2500/4500


458. A French Patinated Bronze of “Doux Reve”, early 20th c., after Charles Theodore Perrone (French, 1862-1934), cast signature “Ch. Perron” at base, 1900, gilt label with title and description, height 33 in., width 16 1/2 in., depth 10 1/2 in., on a circular rouge marble base. $2000/3000 Note: The original of this sculpture was awarded a gold medal at The Paris Salon of 1900.


456. A Russian Bronze of a Horseman Looking Backward, late 19th c., after Evgeni Alexandrovich Lanceroy (Russian, 1848-1886), cast signature and foundry mark in Cyrillic, 11 in., width 11 in., depth 8 in. $4000/6000

459. A Set of Russian SilverGilt and Cloisonné Enamel Open Salts and Spoons, 1898458 1908, with kokoshnick mark facing left, comprising four three-footed salts and spoons with multi-colored leaf and foliage decoration, probably St. Petersburg, in original box, retailed by C. Jansohn, Riga; all marked, (14 pcs.) $2500/3500 W denotes the lot is illustrated at



460. A Fine American Renaissance Paint-Decorated Mahogany and Maple Bedroom Suite, c. 1875, attributed to Pottier and Stymus, New York, inscribed “29030 Knickerbocker”, comprising a bedstead and dresser; the bed with arched headboard centered with a painted panel of a Naiad, baluster and volute stiles, bracketed rails, footboard centered by an engaged urn flanked by two panels and curved sides, height 82 in., width 64 in., length 76 in.; the dresser with arched and blocked mirror crest with Limoniad panel, candle shelves on architectonic stiles, blocked case with inset marble top, three graduated drawers and bracket plinth, height 92 1/2 in., width 53 in., depth 24 in. $5000/8000 Note: The use of a four or five-digit numbering system by Pottier and Stymus before 1888 is well-known and documented in Kristin Herrons’ article on Glenmont, the Thomas Edison residence in West Orange, New Jersey. The digits on a Pottier and Stymus example could be penciled, impressed, or stenciled in black ink. In addition to the number, the client’s name also appears, (“Pedder” in the case of the Glenmont furnishings or “Knickerbocker” on the lot seen here). (1) Herron also notes that the numbers were probably assigned chronologically; low digits, such as “Ingersol 3924” on an Egyptian Revival chair at the Metropolitan Museum of Art dates from c. 1870, and a c. 1882 wardrobe at Glenmont is marked with a higher number “Pedder 66595”. (2) Much of what is known about the Pottier and Stymus numbering system can be gleaned from the 1875 Philadelphia Centennial Exhibition’s Golden Book of Celebrated Manufacturers and Merchants in the United States. The exhibition catalogue describes how the firm scrupulously photographed and tracked “...each piece, from the cheapest to the most expensive...and (it) retains the same number til it comes forth in one of the numerous elegant productions...” and “...encased (photographs) in elegantly bound albums, for the inspection of the patrons of the establishment.” (3) An 1888 fire in the manufactory destroyed the documentation described in 1875, and probably terminated use of the numbers in subsequent work from the firm. (4) The inscribed number in ink on this suite “29030” indicates manufacture before 1878. An important Pottier and Stymus cabinet in the Foote Collection bearing the number “35023” was commissioned for the c. 1878 George M. Pullman Residence at 1729 Prairie Avenue, Chicago. (5) Reference: (1) Herron. “The Modern Gothic Furniture of Pottier and Stymus.” Magazine Antiques. (May 1999) p. 765 (2) Ibid. p. 768, pl. XIII-XIV and note 15 (3) Philadelphia Centennial Exhibition. Golden Book of Celebrated Manufacturers and Merchants in the United States, p. 12 (4) Herron. Ibid, p. 769, note 17 (5) Chicago Historical Society Photography Archive.


461. An English Arts and Crafts Oak Armchair, early 20th c., tall back with shaped crest rail over spindles, incurvate arms, rush seat, ring turned legs, box stretcher, good patina. $400/600



462. An American Aesthetic Carved and Inlaid Cherrywood Center Table, attributed to Herter Bros., New York, shaped top above octagonal paneled apron with swag inlay, on turned and baluster twist legs joined by “X” stretcher, height 29 1/2 in., width 36 in., depth 36 in.


$1200/1800 Note: This table relates closely to examples from Herter Brothers and those found in notable New York houses including an inlaid maple stand stamped Herter made for Edward Harriman and a maple table and chairs from the Henry Marquand House at the Metropolitan Museum of Art (acc. 1986.47 2-4) Reference: Dubrow. Styles of American Furniture 1860-1960, p. 112 and Burke, Johnson, et al. In Pursuit of Beauty, Americans and the Aesthetic Movement, p. 165, fig. 5.23.

463. A Charles X Birdseye and Inlaid Maple Lit de Repos, c. 1825, outswept head and foot, molded plinth, scroll feet, height 41 in., width 75 in., depth 45 in. $4000/6000 464. An Empire-Style Bronze Doré Guéridon, with colorful specimen marble top centered by a roundel of the Coliseum, ram’s head monopodal supports joined by a stretcher shelf with finial, ending in acanthine hoof feet, height 29 1/2 in., diameter 23 in. $3000/5000

464 W denotes the lot is illustrated at


465. A Continental Carved Oak Refectory Table, 17th/18th c., rectangular plank top, turned bulbous supports joined by stretchers, block feet, height 30 3/4 in., width 79 in., depth 29 3/4 in. $2500/3500



467. A Spanish Colonial Carved, Gessoed, and Polychromed Wood Sculpture of a Seated Female Saint, late 18th/early 19th c., the finely carved figure retaining original paint surface, hands held aloft in prayer, a circlet encircling her head, on a stepped painted wood base, height 35 in., width 13 in., depth 12 in., on presentation base. $4000/6000



466. A Spanish Colonial Carved, Gessoed, and Polychromed Wood Figure of a Seated Saint, possibly John of Avila, late 18th/early 19th c., the finely carved figure of the mystic retaining original paint surface, hands outstretched as if in blessing, on a stepped painted wood base, height 35 in., width 12 1/2 in., depth 12 in., on presentation base. $4000/6000


468. Italian School, late 17th/early 18th c., “Suzannah and the Elders”, manner of Guido Reni (Italian, 1757-1642), oil on canvas, unsigned, 36 1/4 in. x 28 1/2 in., in an eleborate carved and giltwood neo-Baroque frame. $2000/3000

469. The “Rudoph Valentino” Egyptian Revival Gilt Bronze Mounted Mahogany Bedroom Suite, early 20th c., comprising a half tester bed, “Princess” dresser, bench, a pair of bedside stands, a dressing bureau, side chair and armchair; the bed tester with dentil molding and reeded swag brackets, fluted posts with lotus capitals and bronze collars, continuous headboard with a winged solar disk mount, an églomisé panel of Marc Antony and Cleopatra, molded rectangular rails, arched footboard flanked by fluted and chevron posts, turned feet; the princess dresser with arched central mirror and hinged flanking mirrors with reeded, snake mounted frames, pedestals of drawers flanking center low shelf; the bench with obelisk supports; bedside stands with square tops, frieze drawers tall legs; the dressing bureau of massive proportions, arched mirror crested with a mount of Nekhbet, two short and two long drawers; chairs with padded backs, cabriole legs; all variously mounted with pharaoh busts, solar disks and hieroglyphs, vanity height 80 in., width 58 1/2 in., depth 28 1/2 in.; commode height 32 1/2 in., width 17 in., depth 17 in.; dressing bench height 24 1/2 in., width 28 1/2 in., depth 17 in.; bed height 96 in., length 84 in., width 68 in. $20000/30000 Provenance: Bonhams & Butterfields, San Francisco, sold as lot 2054, June 25, 2007.


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470. A Good Set of Twelve Régence-Style Carved Walnut Dining Chairs, early 20th c., each with tall arched back, shell-carved seat rail, acanthus-carved cabriole legs, hoof feet, the pair of armchairs with bellflower and acanthuscarved scroll arms, all with Aubusson upholstery and nailhead trim, labeled “Gillberd’s Interior Decorators Manufacturers and Importers of Fine Furniture, Butter St. San Francisco”.


$4000/6000 471. Spanish Colonial School, late 18th/early 19th c., “The Virgin of Sorrows”, oil on canvas, unsigned, inscribed “Mater Dolorosa”, 20 1/2 in. x 16 1/2 in., framed. $3000/5000 472. A Fine Louis XVI-Style Giltwood Pier Mirror, 19th c., the rectangular mirror plate within a ribbon molded frame decorated with scrolling foliage and pendant chains, the crest in the form of a Roman tablet within a wreath and suspended by a beribboned bow, height 74 in., width 47 in. $5000/7500 Provenance: Manheim Gallery Sale, Neal Auction Company, February 2002.



473. A French Carved and Gilded Trumeau Mirror, 19th c., stepped cornice, upper panel with beribboned nature morte trophée above a rectangular mirror plate, flanked by rosette topped pilasters, height 81 1/4 in., width 48 3/8 in. $2000/3000




474. A Pair of American Rococo Carved Rosewood and Laminated Armchairs, mid-19th c., attributed to J. & J.W. Meeks, New York, in the pattern known as “Stanton Hall”, arched pierced, gadrooned crest centered with an anthemion and floral pendant cartouche, shaped open arms, scroll supports, serpentine cabochon centered seat rail, cabriole legs, casters.

476. A Fine American Rococo Carved and Laminated Rosewood Étagère, mid-19th c., attributed to J. & J.W. Meeks, New York, crest with rosettes, bonnet top flanked by foliate finials, arched mirror back flanked by candle shelves, ringturned supports, scroll brackets, serpentine white marble top, laminated apron with acanthine and floral carving, reticulated cabriole legs, two lower shelves, shaped plinth, scroll feet, height 106 in., width 58 3/4 in., depth 21 1/2 in.


$12000/18000 Note: The use of innovative laminated construction for the apron and shelf adornments on this étagère is indicative of the two largest firms in New York’s Rococo Revival furniture trade: John Henry Belter and J. and J.W. Meeks.

475. An American Rococo Carved and Laminated Rosewood Sofa, c. 1850-1860, attributed to J. & J.W. Meeks, New York, in the pattern known as “Stanton Hall”, arched, pierced, gadrooned crest centered with an anthemion and floral pendant cartouche, scroll arms, serpentine seat rail with cabochon center, cabriole legs, casters, height 46 in., width 65 in., depth 37 in.

A rosewood étagère, with nearly identical mirror shape, apron, and cabriole legs to that seen here, is installed in the drawing room of Fountain Elms (acc. 59.118, see d’Ambrosio. Masterpieces of American Furniture from the Munson Williams Proctor Institute, p. 20, fig 16 and p. 80, fig. 25.) Another rosewood étagère attributed to J. and J. W. Meeks, nearly identical to that offered here, is illustrated in Dubrow. American Furniture of the 19th c., p. 144.


476 W denotes the lot is illustrated at



478. An American NeoGrec Ebonized and Gilt Incised Walnut Center Table, late 19th c., attributed to Gustave Herter, New York, inset marble top, incised skirt with fluted oval brackets, on square supports with bosses, Greek key collars, scrolled strapwork carved legs, disc feet, connected by an intricately carved stretcher centered by a large finial, height 28 in., width 43 1/2 in., depth 28 in. $2000/3000 479. An American Classical Carved Mahogany Footstool, early 19th c., scrolled uprights connected by turned, leaf-carved stretchers, original leather upholstery, shaped rail centered by fan carving, scrolled legs, height 9 1/2 in., width 16 1/2 in., depth 9 in.



479 481

480. An American Classical Carved Mahogany Work Table, c. 1825, drop-leaf top over two fitted drawers, spherule stem with acanthus collar, four volute saber legs, brass paw feet, casters, height 29 in., open length 35 in., depth 20 in. $1200/1800

477. A Rare American Aesthetic Cherrywood Hall Chair, late 19th c., attributed to Herter Bros., New York, arched spindled crest rail, blocked and ring-turned stiles, padded back, spindled seat rail, turned legs, casters. $2000/3000 Note: The use of cherrywood, a sophisticated Aesthetic design, and a number of construction details on this chair are indicative of the Herter firm. The finely reeded stretchers and turnings are similar to those on a suite of oak side chairs at the Vanderbilt Mansion Historic Site, Hyde Park, New York. The numbered casters on this chair are sourced from New York’s India Rubber Comb Company, a firm contemporaneous to Herter, whose wares are seen often on Herter tables and chairs. 480


Reference: Howe, et al. Herter Brothers, Furniture and Interiors for a Gilded Age. p. 170, fig 21 and p. 123, figs. 108-109.

481. A Fine American Renaissance Carved Mahogany and BronzeMounted Portfolio Stand, mid-19th c., galleried top, paneled slant lid centered with a patinated medallion of Cupid, molded scalloped waist with bronze rosette, spiral tapered supports, medial shelf, plinth base, arched legs, finely cast bronze mounts throughout, the finished back having mounted panels, height 52 3/4 in., width 27 1/4 in., depth 19 3/8 in. $1200/1800




484. An American Aesthetic Carved Rosewood Side Chair, late 19th c., Herter Bros., New York, carved crest rail, molded stiles, reticulated splat, tapered reeded legs ending in spade feet joined by stretchers.


$1000/1500 485. A William IV Carved Rosewood Fire Screen, early 19th c., arched crest with scroll acanthus carving, molded frame, period needlepoint panel, shell-carved standard, incurvate plinth on bracketed paw feet, height 52 1/2 in., width 42 in., depth 13 in.

482. An American Aesthetic Inlaid Cherrywood Table, late 19th c., attributed to Herter Bros., New York, octagonal top, beaded skirt, turned supports, cruciform stretcher shelf with drawers, outswept brass paw feet, height 30 1/4 in., width 28 3/8 in. $800/1200


$700/1000 483. An American Aesthetic Carved Rosewood Side Chair in the Japonesque Taste, late 19th/early 20th c., New York, the rectangular back with two foliate panels carved in bas relief over a screen of dowel spindles, upholstered seat, square legs with carved panel and dowel spindle apron.

486. A Fine Regency Mahogany Étagère, early 19th c., five graduated tiers, turned baluster supports, low drawer, turned tapered legs, height 64 in., width 19 1/2 in., depth 16 1/2 in. $1500/2500

$500/700 Note: The square stiles and dowel spindle panels on this chair are similar to those on a set of eight mahogany side chairs from Olana, the Fredric E. Church house in Hudson, New York (acc. OL1979.27.1). Reference: Burke, et. al., In Pursuit of Beauty, Americans and the Aesthetic Movement, p. 163, fig. 5.20.

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487. An English Chinoiserie Hanging Corner Cabinet, 19th c., green ground, scalloped gallery rail, two doors with scene depicting figures in a landscape, butterfly hinges opening to shelves, height 38 1/2 in., width 22 3/4 in., depth 15 5/8 in. $800/1200 487

488 488. A Louis XVI Crème Peinte Commode, late 18th c., serpentine gris de Ste. Anne marble top, conforming case with gris de Ste. Anne diapering and accents, two short and two long drawers, shaped side panels, apron, cabriole legs, height 35 in., width 50 3/8 in., depth 24 5/8 in. $5000/7000



489. A Fine French EmpireStyle Bronze-Mounted Mahogany Chaise de Bureau, 19th c., barrel back ending with lion masques terms, conforming seat rail with applied rosettes, the legs with griffin mounts and paw feet. $1500/2500 490. A Spanish Baroque Walnut Table, probably 19th c., plank top, paired and turned trestled supports joined by iron stretcher, height 27 in., width 68 in., depth 40 5/8 in. $2500/3500 491. Spanish Colonial School, 18th c., “Transfiguration of Christ, with the Virgin Mary and Apostles”, oil on canvas, unsigned, sight 18 1/2 in. x 13 in, in unusual painted, carved and gilded frame, overall dimensions 26 1/2 in. x 22 1/4 in. $800/1200



492. Giuseppe Corelli (Italian, 1858-1921), “Isola di Capri”, oil on canvas, titled lower left, signed and dated “1898” lower right, 28 5/8 in. x 38 3/8 in., in a period molded gilt frame. $1500/2500 493. Giuseppe Corelli (Italian, 1858-1921), “Vesuvio da Sa. Lucia”, oil on canvas, titled lower left, signed and dated “1898” lower right, 28 5/8 in. x 38 1/2 in., in a period molded gilt frame.



$1500/2500 494. Jean-Urban Guérin (French, 1760-1836), “Lady with a Jeweled Headdress”, miniature watercolor on ivory, signed lower right, old period inscription en verso, 3 1/2 in. x 3 in., in an attractive gilt frame. $800/1200 Note: The son of an engraver, Guérin was a popular and successful miniaturist who was equally admired by the French Court of Louis XVI and the Republic of Napoleon Bonaparte. Born in Strasbourg, Guérin spent most of his life in Paris, fleeing briefly during the Terror to join the army of Louis Desaix. His sitters included such luminaries as Georgiana, the Duchess of Devonshire, Marie Antoinette, Talleyrand, Empress Josephine, and Napoleon. Reference: Bénézit. Dictionnaire des Peintres, Librairie Grund, 1976, vol. V, p. 271.


495. Moritz Michael Daffinger (Austrian, 1790-1849)., “Lady with an Ermine Stole”, miniature watercolor on ivory, signed lower right, 2 1/2 in. x 2 1/8 in. oval, in an antique tortoiseshell frame.


$800/1200 Note: One of the most popular and successful miniature artists of his day, Daffinger received his initial training from his father who was a painter at the Imperial Royal Porcelain Manufactory in Vienna. He later studied under Friedrich Heinrich Fuger (German, 1751-1818) at the Viennese Academy of Art. Daffinger was particularly admired by the Austrian Imperial family; at one time they owned almost a thousand of his works. Daffinger was so admired by the public that his portrait was on the Austrian 20 schilling note until that currency ceased circulation with the emergence of the euro. Reference: Bénézit. Dictionnaire des Peintres, Librairie Grund, 1976, vol. III p. 318.

496. A KPM Porcelain Plaque of Queen Louise of Prussia, late 19th/early 20th c., after Gustav Richter (German, 1823-1884), inscribed “Hg. Louise”, with an impressed KPM and sceptre mark and “SZ4”, plaque 8 7/8 in. x 6 1/2 in., framed. $2000/3000


W denotes the lot is illustrated at


W 500. A Pair of

Late Georgian Sheffield Plate Wine Coasters, early 19th c., elaborate foliate border with ringturned hardwood bottoms with silver buttons, gadrooned sides, diameter 6 3/4 in.


$400/600 W 501. A Georgian

Sheffield Plate Dish Cross, early 19th c., adjustable arms, beaded borders, retains central spirit lamp, height 4 in., diameter 11 in. $250/350


502. An English Regency Mahogany Banjo Barometer, c. 1835, by D. Maffia, Monmouth, case with string inlay, scrolled pediment, silvered weather dial, with hygrometer, level and convex mirror, height 38 in., width 9 1/2 in., depth 1 3/4 in. 503


497. A Spanish Colonial Carved and Polychromed Wood Figure of St. Michael, 18th c., with raised sword and shield, height 36 in., width 16 1/4 in., depth 10 in. $1800/2500

498. A Large and Important Pair of Sheffield Plate Three Light Candelabra, Waterhouse, Hatfield & 502 Company, Sheffield, c. 1840, fluted shafts above lobed weighted bases, ornate foliate scroll arms supporting urn shaped candlecups with bobêches and drip pans, the center candlecups with flame finials, height 24 1/4 in., width 20 in. $1500/2500 W 499. An Antique Sheffield Plate Dish Cover, with

removable cast foliate handle, faceted domed body with applied, molded and acanthus rim, inset silver shield with monogram, height 11 in., length 19 1/2 in. $400/600


$800/1200 503. An American or English Etched and Cut Glass Hurricane Shade, 19th c., encircled by bands of grapes, leaves and flowers, height 23 in., diameter 8 1/2 in. $1000/1500 504. An English Patinated and Carved Wood Bust of Shakespeare, late 19th/early 20th c., height 16 1/4 in., width 11 in., depth 5 1/4 in. $1000/1500



505. An English Carved Wood Bust of John Milton, 19th c., height 16 1/2 in., width 9 1/2 in., depth 4 1/4 in. $800/1200 506. An Antique Irish Carved Mahogany Slab Table, 19th c., molded marble top, plain frieze, carved and pierced skirt with grotesques clutching garlands, masks heading the blocked square tapered bellflower carved 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. $8000/12000 Note: Two 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 to those seen here.


507. An English Carved Mahogany Library Armchair, mid-19th c., rounded back, padded scroll arms, serpentine seat above robust turned legs and raking rear legs, casters, and upholstered in tufted leather.


$800/1200 508. A George III Carved Mahogany Corner Cupboard, early 19th c., dentil molded cornice with turreted ends, cluster column stiles, blind fretwork and paneled doors; conforming lower case, blocked plinth, bun feet, height 88 3/4 in., width 56 in., depth 26 1/2 in. $2500/3500 W denotes the lot is illustrated at


W 511. An


Antique Italian Carved Walnut Tabouret, 19th c., rectangular top, dentil molded skirt with drawer, bulbous turned legs, stretchers, ball feet, height 24 in., width 22 1/2 in., depth 16 in.



510. 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. $5000/7500

512. A Louis XV/XVI Carved Walnut Commode, 18th c., serpentine top, conforming case with two short and two long drawers, chamfered stiles, shaped skirt, cabriole legs, retaining original, wrought steel hardware, height 35 in., width 53 in., depth 26 in. $4000/6000 513. An Antique Venetian Painted Low Table, red ground, the molded square top with reserve of a bridge within a landscape, floral painted skirt, on carved cabriole legs, height 20 7/8 in., width 32 1/2 in., depth 27 3/8 in.


$800/1200 514. An Antique Continental RococoStyle Carved Walnut Mirror, having an acanthus-carved rocaille crest, molded frame with acanthine appliqués, height 45 1/2 in., width 31 in.


$1200/1800 509. A Dutch Rococo Carved Walnut Side Chair, 18th c., shell-carved arched crest rail, pierced vasiform splat, plank seat, shaped rail, cabriole legs ending in scrolled toes. $400/600



515. A Louis Philippe Mahogany Sewing Table, mid-19th c., rectangular top opening to a fitted interior and a mirror, frieze drawer, lower trapezoidal basket, trestle base joined by a stretcher, bracket feet, height 27 7/8 in., width 22 in., depth 15 3/8 in. $500/750 516. A Pair of Charles X Carved Mahogany Fauteuils, 19th c., scrolled arms, bowed seat rail, volute carved saber legs.

515 516

$1500/2500 W 517. A Louis

Philippe Birdseye Maple Pedestal Cabinet, early 19th c., molded square top, two doors, plain stiles, plinth, height 32 1/2 in., width 14 7/8 in., depth 14 1/2 in. $500/750 518. Attributed to Francis Cotes (English, 1726-1770), “Portrait of Lady Diana”, oil on canvas, unsigned, handwritten label with artist and title en verso, 30 in. x 25 in., in a period carved, gessoed, and giltwood frame.



519. Hans Zatzka (Austrian, 1859-1945), “Still Life with Morning Glories, Bluebirds, and Bumblebees”, oil on canvas, signed lower center, signed, inscribed and bearing a partial paper label en verso, 30 in. x 25 in., in a period carved and giltwood frame.


$4000/6000 520. French School, early 19th c., “A Mime ‘Gilles’ with Three Companions”, in the style of Jean-Antoine Watteau (French, 1684-1721), oil on canvas, unsigned, 41 in. x 31 in., in a period frame. $2000/3000 520 W denotes the lot is illustrated at


522. An Antique Continental RenaissanceStyle Carved Walnut Hall Chair, arched shell crest, pierced volute foliate scroll splat, acanthuscarved, shaped seat rail, spiral turned legs, circular paw feet, stretchers. $500/700



523. An Antique Dutch Rococo Mahogany Miniature Desk, the slant front lid opening to a fitted interior of four drawers flanking a central compartment, the bombé case with single drawer, cyma carved skirt, “French” feet, height 11 in., case width 14 in., case depth 8 in. $1000/1500 W 524. A


521. Edward Mathew Ward, R.A. (British, 1816-1879), “Marie Antoinette’s Farewell to the Dauphin”, watercolor, ink, and gouache on board laid down on masonite, signed lower right, 15 1/2 in. x 15 1/2 in., attractively framed. $3000/5000



Provenance: Christie’s London, June 18, 1985 as lot 34; Sotheby’s New York, July 16, 1998 as lot 1619. Note: A member of a prominent English literary family, Ward revealed an artistic proclivity at an early age. As a child he supplied the illustrations for his uncles’ books, and at the age of 14 he was awarded a silver medal from the Society of Arts. Ward attended the Royal Academy Schools and was a recipient of a medal from the Academy of St. Luke in Rome. While in Rome he began to create grand historicizing scenes that were enthusiastically received by the public and critics alike. He eventually chose to concentrate on depictions of politically significant 18th and 19th century events. In this elaborately composed painting, Ward depicts the poignant moment, shortly after the execution of Louis XVI, when the young dauphin is forcibly removed from his mother’s care; it is the last time they will see each other. Reference: Bénézit. Dictionnaire des Peintres, Librairie Grund, 1976, vol. X, p. 636.


Decorative Polychromed and Carved Mahogany Pier Table, of Georgian inspiration, the rectangular top with molded carved edge, griffin brackets, paneled back with applied trophée, height 35 1/8 in., width 41 5/8 in., depth 15 1/2 in.

525. An Antique English Brass Inlaid Rosewood Mantel Clock, 19th c., the movement marked “Cope, London” and “Time Keeper”, enameled dial set within an octagonal face surmounted by urn form finial, ring handles, the case inlaid with brass cut-outs of vining flowers, griffins and an acrobatic horseman, tall plinth base on bun feet, height 21 1/2 in., width 15 in. depth 7 in. $700/1000

526. An English Berlin Woolwork Depicting an Elegant 17th Century Couple, 19th c., wool and silk thread on canvas, hands and faces in petitpoint, figures set within a floral border, 23 3/4 in. x 20 3/4 in., unframed. $800/1200 527. A Good American Aesthetic Carved Mahogany and Paint-Decorated Side Chair, late 19th c., attributed to Herter Bros., New York, spindled crest, foliate-incised stiles with rosette blocks, upholstered seat, turned legs, mortised stretchers.



$800/1200 Note: This lot is identical to a side chair made by Herter Brothers for The Woodlands, the James Godwin residence (Hartford, Connecticut), and in the Masinter collection. The Woodlands chair bears the impressed number 3435.


Reference: Howe, et. al. Herter Brothers Furniture and Interiors for a Gilded Age, pl. 24 p. 175

530. A Near Pair of Blue and White Porcelain Basins, each of circular tapering form, decorated in the Chinese Ming style with continuous outdoor figural scenes banding the exteriors, heights 9 in., diameters 20 3/4 in.

528. A Pair of Blue and White Porcelain Covered Congs, each of rectangular form with square necks and square covers, each decorated in the Chinese Kangxi style with bird and flower design, the flat unglazed bases with recessed glazed squares enclosing apocryphal Kangxi marks, heights 13 1/4 in.

$1800/2500 531. A Fine Pair of Antique Chinese Inlaid Rosewood Garden Seats, each with circular inset marble top, bowed barrel form with reticulated supports, abalone and mother-of-pearl inlay throughout. 527




529. A Pair of Copper Red Decorated Dragon Jars, modeled in the Chinese Ming style with tapering ovoid bodies, short feet and collared necks, each decorated with a large dragon on a cream crackle ground, heights 11 1/4 in.


$700/900 W denotes the lot is illustrated at


532. An American Aesthetic Maple Faux Bamboo Side Table, late 19th c., attributed to R.J. Horner, New York, rectangular molded top, the uprights connected by thin bamboo spindles and cross stretcher, raised on outswept legs, height 28 1/2 in., width 24 1/2 in., depth 19 in.

533. A Pair of American Renaissance Carved and Burled Walnut Armchairs, c. 1870, probably A. & H. LeJambre, Philadelphia, each with faceted crest rail, leaf carved stiles, padded arms, blocked uprights, shaped seat rail, turned and tapered legs. $1000/1500 534. An American Late Federal Inlaid Mahogany Writing Desk, early 19th c., Baltimore, the top above an inset leather writing slide, two deep drawers flanking a door, over a long drawer above two drawers flanking a central arch, on reeded tapered legs ending in brass ferrules, ball feet, height 32 in., width 36 in., depth 22 in.


$2000/3000 532



535. A Queen Anne Mahogany Corner Cupboard, 18th c., stepped molded cornice, arched raised panel doors enclosing scalloped shelves and small drawers, molded base, ogee bracket feet, height 55 1/2 in., width 36 in., depth 20 in. $1500/2000



536. English School, late 19th c., “Fly Fishing at the Mill”, oil on canvas, unsigned, 8 in. x 10 7/8 in., unframed.


$500/700 537. An Antique Chromolitho­ graph of a Whaling Scene, on paper, signed in plate “Jos. Fleischmann”, sight 24 1/2 in. x 33 7/8 in., attractively matted and framed. $600/900 538. A Persian Heriz Carpet, red and cream ground, central medallion, floral vine border, 11 ft. x 15 ft. 3 in.

539 537

$4500/6500 539. A Persian Serapi Carpet, cream, red, and navy ground, central geometric medallion, geometric vine border, 7 ft. x 10 ft. 4 in. $3000/4000 W 540. A

Persian Hamadan Runner, red and cream ground, geometric design, 2 ft. 7 in. x 14 ft. $1500/2000



geometric design, floral border, 9 ft. 6 in. x 12 ft. 9 in.

542. A Persian Heriz Carpet, red ground, allover floral geometric design, vine border, 10 ft. 3 in. x 13 ft. 4 in.



W 541. A Persian Tabriz Carpet, cream and tan ground, allover

W denotes the lot is illustrated at


545. French School, 19th c, “Portrait of an Artist with a Palette”, after Jacques-Louis David (French, 1748-1825), oil on canvas, unsigned, 17 1/2 in. x 14 3/4 in., in an antique carved and giltwood frame. $1500/2500 546. An Antique Inlaid Mother-ofPearl and Hardwood Domical Trunk, Morocco or Syria, overall geometrical design, the domical top opening to a void interior, plinth base, bracket feet, height 24 in., width 37 in., depth 17 3/4 in. $1500/2500


547. An Antique Georgian-Style Oak Miniature SlantFront Desk, 19th c., having hinged lid, with two short drawers over two long drawers, bracket feet, lion mask pulls, dovetailed construction, height 10 in., width 8 in.


$600/900 W 548. An Antique

Yellow Gold, Opal and Diamond Crescent Pin, c. 1890, length 2 5/8 in. $1200/1800



543. A Persian Tabriz Carpet, red and cream ground, central medallion, geometric floral border, 9 ft. 7 in. x 13 ft. 3 in. $3500/4500 544. A Pair of French Gilt Bronze and Enameled Figural Candlesticks, one depicting Mercury, the other Aurora, each holding torches, on pierced circular bases, scrolled paw feet, height 11 5/8 in. $700/1000 547


550 (1 of 2)

W 549. A Late Georgian/Early Victorian

Pinchbeck and Banded Agate Pectoral Cross, early 19th c., with snake motif bail. $800/1200 550. A Rare Group of Eleven Antique New Orleans West End Rowing Club Gold Medals with Photographs, the medals in 14 kt. rose, yellow and white gold, made by New Orleans makers, three Frantz & Opitz (wc. 1880-1897) and three M. Scooler (wc. 1857-1900), engraved with dates, crew members and winning times; together with two vintage photographs showing the team, one gentleman, Mr. Manson, shown wearing seven of the eleven medals in this lot, photograph sights 8 1/2 in. x 7 in., each attractively framed, the medals totalling approx. 3.5 troy ounces. $4000/6000 550

Provenance: Descended in the family of Mr. Manson, Audubon Place, New Orleans, who is pictured in the photographs and whose name is engraved on most of the medals. Note: The West End Rowing Club, located on the New Basin Canal, was formed after the old organization known as the Orleans Rowing Club disbanded in 1880. The membership included prominent amateur oarsmen, and won the annual regattas of the Southern Amateur Rowing Association from 1896-1898. The Southern Amateur Rowing 551 Association consisted of the St. John Rowing Club, the Louisiana Boat Club, the West End Rowing Club, the Tulane Rowing Club, and the Young Men’s Gymnastic Rowing Club, all of New Orleans; and the Southern Racing Club of Pensacola, Florida.


551. An 18 kt. Yellow Gold, Emerald and Diamond Ring, in a ballerina setting with an emerald-cut emerald center stone, approx. 2.25 cts., surrounded by 28 tapered baguette diamond totaling approx. 1.5 cts.

552. An Antique French 18 kt. Yellow Gold and Silver Top Flexible Bracelet, c. 1880, set with rose cut diamonds and emerald center stone.


$2000/4000 W denotes the lot is illustrated at



553. An Antique Art Deco Platinum, Emerald and Diamond Lapel Clip, clip is bezel set with one approx. 6.25 ct. emeraldcut emerald, one approx. 2 ct. pear-shaped emerald, two pearshaped emeralds with an approx. total weight of 1.5 cts., one approx. 1.2 ct. emerald-cut diamond, one approx. . 15 ct. trapezoidal diamond, channel set with 10 shaped baguette diamonds graduated in size with an approx. total weight of 1 cts., three baguette-cut diamonds graduated in size with an approx. weight of .18 ct., seven pave set singlecut diamonds with an approx. total weight of .21 ct. and thirty-six full cut diamonds with an approx. total weight of 1.80 cts., clip has safety chain and pin, approx. 12.19 dwts., appraisal available with approx. GIA diamond grading. $20000/30000




554. A Tahitian Pearl Necklace, the pearls graduated from 12 to 14.10 mm., with yellow gold clasp, length 17 in. $5000/7000 555. A South Sea Pearl Necklace, graduated from 11.10 to 12.17 mm., length 17 in. $4000/6000


556. A Platinum, Kashmir Sapphire and Diamond Ring, set with a natural blue sapphire oval faceted center stone, 9.31 cts., flanked by 2 demilune diamonds, totaling approx. 1 ct., accompanied by Gubelin certificate. $10000/15000

557. A Platinum, Ceylon Sapphire and Diamond Ring, set with a natural blue sapphire cushion cut center stone, 4.56 cts., flanked by 2 tapered baguette diamonds, accompanied by AGTA certificate. $4000/5000 W 558. An 18 kt. Yellow Gold Lady’s Link

Bracelet with Cabochon Sapphire, signed, weight 35.5 dwts.


$1500/2000 559. A Platinum and Diamond Solitaire Ring, set with an approx. 1.5 ct. round center diamond with six small round diamonds flanking, approx. size 8, together with a white gold and diamond wedding band set with 22 small round diamonds and 28 baguette diamonds. $3000/5000 560. A Lady’s Patek Philippe Wristwatch, the platinum and single cut diamond watch case now on a later white gold band. $1000/2000 559



W 562. A White South Sea Pearl Necklace, graduated from 12

to 13 mm., with yellow gold clasp, length 18 in. 561

$3000/5000 W 563. A Gray South Sea Pearl Necklace, graduated from 12

561. An Antique Yellow Gold Mesh Evening Bag, c. 1900, the reticulated serpentine frame with beautifully chased lily motif, cabochon amethyst clasp, chain link handle, interior engraved “Oct. 27, 1909”, width 5 in., weight 7.55 troy ozs.

to 14 mm., with white gold clasp, length 18 in. $4500/5500


564. A Platinum and Diamond Solitaire Ring, the brilliant cut diamond approx. 6 cts., accompanied by GIA certificate.

Provenance: Collection of a New Orleans Lady.

$50000/70000 Provenance: An Estate Collection. W denotes the lot is illustrated at


565. A Platinum and Diamond Flexible Bracelet, set with 50 emerald-cut diamonds, approx. total weight 21.5 cts., color G, clarity VVS1 to VVS2.

W 574. A 14 kt.



566. A Pearl and 18 kt. White Gold Bracelet, 3 strands of 11 mm. pearls, with white gold spacers and white gold and single cut diamond clasp.

W 574A. A Platinum



Yellow Gold and Diamond Solitaire Ring, the pear-shaped center stone approx. .50 cts., flanked by 2 trillions totaling approx. .30 cts.

and Diamond Solitaire Ring, the pear-shaped center stone approx. .80 cts., flanked by 2 tapered baguette emeralds.

565 W 567. A Retro 14 kt.

W 575. Two Mexican

Yellow Gold Bangle Bracelet with Platinum, Diamond and Cultured Pearl Ornament.

Silver Bracelets, one a hinged scroll-form cuff, the other a link bracelet set with cabochon amethysts.



W 568. A Yellow Gold,

W 576. A David Yurman

Garnet and Diamond Cocktail Ring, set with a large circular faceted garnet center stone surrounded by 45 full cut diamonds totaling approx. 2.75 cts.

Sterling Silver, 14 kt. Yellow Gold and Cabochon Amethyst Ring. $200/300



W 569. An Art Moderne 14

kt. Yellow Gold and Diamond Cocktail Ring .

W 577. Two Gourdje

Crystal and Enamel Openwork Pins, in the form of ladies’ faces, one frontal, the other profile, each signed Gourdji. $300/500

$300/500 578. A 14 kt. Yellow Gold and Enamel Brooch, made from an antique watch face, fine enamel decoration of a polychrome horse’s head surrounded by a cobalt horseshoe, with 5 later diamond pendants.

W 570. A 14 kt. Yellow Gold,

Aquamarine and Sapphire Ring, containing one emerald-cut aquamarine weighing approx. 5 cts. and 6 square-cut sapphires weighing approx. .30 cts. total, stamped “JA”, approx. size 6, 3.20 dwts.


$300/500 W 579. A 14 kt. Yellow Gold Jockey W 571. A 14 kt. Yellow Gold and

Hat and Riding Crop Pin, set with 1 full cut diamond, 2 faceted rubies and 1 cultured pearl.

Diamond Solitaire Pendant, set with a full cut diamond, on yellow gold chain, approx. .80 cts.



$400/600 W 580. An 18 kt. Yellow Gold,

W 572. A Freshwater Pearl Necklace,

graduated from 10 mm. to 13.5 mm., toggle clasp, length 18 1/2 in. $300/500

W 573. A Freshwater Pearl Necklace,

graduated from 12 mm. to 14.5 mm., toggle clasp, length 19 in. $300/500

Synthetic Ruby and Diamond Ring, signed “C & Co.”, the “gypsy” mounted oval faceted synthetic ruby of good pigeon blood color, approx. 2 cts., flanked by 2 old mine cut diamonds totaling approx. .80 cts. $800/1200


W 581. A 14 kt. Yellow

W 589. A Chinese Silver

Gold, Synthetic Ruby and White Sapphire Bracelet, set with a cushion cut faceted synthetic ruby and 2 full cut white sapphires, approx. .90 cts. total.

Gilt Filigree, Enamel and Rose Quartz and Jadeite Cabochon Bracelet, of five part bracket construction set with three rose quartz cabochons and two jadeite cabochons surrounded by raised floral enamel decoration, marked “silver”; together with a pair of silver gilt, enamel and lapis lazuli cabochon ear clips.

$200/300 582. A White South Sea Pearl Necklace, graduated from 12 to 13 mm., with white gold and diamond clasp and roundel spacers, length 18 in.

$200/400 W 590. Two Chinese Silver


Gilt Filigree, Enamel and Semi-Precious Cabochon Stone Bracelets, each of three part bracket construction, the first set with jade cabochons surrounded by raised enamel decoration of guardian lions and ruyi clouds; the second set with turquoise cabochons with peach, bat and floral enamel decoration ; together with an openwork silver and enamel cuff bracelet of two bracket construction, each marked “silver”.

W 583. A Freshwater Pearl

Necklace, graduated from 11.5 mm. to 14 mm., toggle clasp, length 18 1/2 in. $300/500 W 584. A Freshwater Pearl

Necklace, graduated from 11 mm. to 14 mm., toggle clasp, length 19 in. $300/500


W 585. A 14 kt. Yellow

Gold and Black Cameo Pendant on 14 kt. Yellow Gold Chain . $200/300 W 586. A Group of Chinese and Japanese Jewelry, including

three silver filigree bracelets, the first inset with three incised motherof-pearl panels, marked “china”; the second inset with three relief carved resin “ivory” roundels, marked “silver”; and the third, inset with four relief carved resin “cinnabar” panels, marked “china”; two deeply relief carved resin “ivory” pins, one marked “silver”; and a mounted Japanese Satsuma Pottery pin, marked. (6 pcs.) $200/400 Provenance: The “ivory” inset bracelet acquired from the Estate of Sophie Tucker, Morton’s Auction, New Orleans, LA.


W 591. Two Chinese Silver

Filigree, Enamel and Jade Bracelets, the first of five part construction set with three reticulated white jade Immortal figures surrounded by raised silver wire and enamel floral decoration; the second of six part construction set with four openwork white jade figural carvings surrounded by raised silver wire and enamel floral decoration, each marked “silver”. $300/500 W 592. A Chinese Silver Filigree, Enamel and Jade

Bracelet, of three part bracket construction, the center section set with a white jade chrysanthemum surrounded by raised enamel decoration on shou symbols, bats and ruyi clouds, marked “silver”; together with a silver filigree and enamel butterfly pin. $200/400

W 587. 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”. $300/500

W 593. A Group of Chinese Jade Jewelry, comprised of four

pendants and two rings, the first pendant in the form of a Guanyin, goddess of Mercy, carrying a bottle vase, height 1 9/16 in.; the second in the form of a monkey clutching a double gourd, height 1 1/2 in.; the third in the form of a lizard atop a double gourd, height 1 3/16 in.; the fourth in the form of a leaf, height 1 3/16 in.; approx. ring sizes 7 3/4 and 4 3/4, (6 pcs.)

W 588. Two Chinese Silver Gilt Filigree and Semi-Precious


Stone Inset Bracelets, the first of five part bracket construction set with three amethysts surrounded by raised floral decoration; the second of seven part bracket construction set with seven jadeite cabochons surrounded by raised floral decoration, each marked “silver”.

W 594. A Japanese Arita Blue and White Porcelain Barbed


Rim Dish, mid-19th c., the well and cavetto decorated with an outdoor pavilion set among a mountainous landscape, base with apocryphal 15th c. Chinese Chenghua marks, diameter 7 1/4 in. $300/500 W denotes the lot is illustrated at


598. A Chinese Carved Boxwood Ruyi Scepter, 19th c., the naturalistic twisted shaft intricately relief carved throughout with bats and young boys clambering up leafy vines, the lobed head with boys riding upon a large fish, length 14 1/2 in. $1000/1500 W 599. A Chinese Zitan

Brushpot, hollow cylindrical interior surrounded by thick flori-form sides, base plugged, height 5 1/4 in.


$600/800 600. A Chinese Carved Bamboo Lily Cup, 19th c., carved in the form of a partially open lily raised on a reticulated flowering prunus branch base extending up the sides and creating the handle, height 4 1/2 in. 598



W 601. A

Chinese Buffalo Horn Figure of Guanyin, probably 19th c., the goddess of Mercy carved wearing long flowing robes and holding an inverted bottle from which flows the elixir of compassion, height 6 7/8 in., carved wood stand.

595. A Pair of Chinese Carved and Tinted Ivory Figures of Buddhistic Lions, the male and female pair rendered on their back haunches with one leg 598 (detail) raised, the female with her left front paw resting on a young cub, the male with his right front paw on a brocade ball, each wearing a collar with hanging bell-form pendants, raised on pieced ivory double square pedestal bases bearing spurious four character Qianlong marks, lion heights 5 7/8 in., overall heights 10 in. $1000/1500

$500/700 W 596. A Pair of Chinese Mother-of-Pearl Inlaid

Carved Wood Panels, late 19th/early 20th c., each of rectangular form with a central roundel enclosing figures in an outdoor setting surrounded by an openwork self-frame, height 15 1/2 in., width 20 1/2 in. $800/1200 597. A Chinese Gilt and Polychrome Decorated Bronze Figure of Guanyin, 19th c., cast standing upright upon a lotus pod base, wearing waisted skirts and a long shawl which drapes down the shoulders over voluptuous hips to form a long loop at either side of the feet, the bare chest with bead necklaces, the hair tied in a high lobed knot held with a tiara, height 15 3/4 in. $1000/1500



Provenance: Acquired c. 1950, Sumatra or Java.

W 602. A Chinese Jade Inset Hardwood Ruyi Scepter, the jade

probably late 19th c., the wood of arched lingzhi form set with three celadon jade carved and reticulated plaques, the uppermost of lobed lingzhi form deeply carved with a pair of deer beneath a pine, largest jade height 2 7/8 in., width 3 3/4 in., overall length 20 in. $700/900

603. A Large Chinese Archaistic Greenish Brown Jade Ceremonial Ax Head, Qi, 19th c., pierced and flattened form, the top surmounted by a chilong dragon, each side incised with a stylized bull’s head within a shaped panel, height 9 1/4 in., width 7 in., storage box. $800/1200 Provenance: Acquired 1950s, Asia. 604. A Chinese White and Brown Jade Monkey Group, 18th/19th c., carved in the round with an adult monkey and its young, the adult seated with its long tail curling up its back, grasping a large peach bough, the young monkey playfully clambering up the fruit, height 2 3/8 in. $1000/1500 605. A Chinese White and Brown Jade Figure of a Recumbent Water Buffalo, 19th c., carved with its legs neatly tucked under its body, the tail gently curving over its hind quarters, the head raised and turned to one side, its ears laid back beneath two long curling ridged horns, height 2 in., width 5 1/4 in. $1000/1500 W 606. A Group of Chinese

Celadon Jade Garment Appliqués, 19th/early 20th c., comprised of sixteen figures and three emblems, each carved in flat reticulated form, height 1 1/8 in. to 1 3/8 in. $300/500 W 607. A Chinese Pale

Celadon Jade Belt Hook, late 19th/early 20th c., the arched shaft carved in openwork high relief with a chilong clambering toward a dragon head terminal, the underside with a round knob for attachment, length 4 1/2 in. $600/800



W 608. A Chinese

Archaistic Celadon Green Jade Dragon Pendant, carved in flattened circular form with multiple entwined creatures, height 2 1/2 in., width 2 1/2 in. $200/400 W 609. A Group of Thai

Sawankhalok Pottery Vessels, 14th/15th c., including an elephant form water dropper, height 2 1/2 in., width 4 1/2 in.; a deer form vessel, height 1 3/4 in., length 4 in.; a chicken form vessel, height 2 in., length 2 3/4 in.; a human form vessel, height 3 3/5 in., width 3 1/4 in.; a chicken form unglazed vase, height 3 1/2 in., width 4 1/2 in.; together with a three prong brush rest, height 2 1/4 in., width 2 1/2 in., and a yellow and brown glazed zoomorphic covered box, height 2 1/2 in., width 2 1/2 in., (7 pcs.)



$1000/1500 W 610. A Chinese Longquan Tripod Censer,

Ming Dynasty (1368-1644), squat bulbous body supported on three slightly splayed feet, surmounted by a waisted neck and everted rim with two “rope twist” loop handles, pierced base, carved around the sides with large peony sprays beneath a key fret border, covered overall in an olive green glaze excepting the base of the feet, height 3 1/2 in.

611. A Chinese Yingqing or Qingbai Glazed Porcelain Cosmetic Box, Song Dynasty (960-1279), ring foot supporting a tapering lower body, upright sides and slightly domed cover, the interior fitted with three small pots separated by a three armed structure applied with florets and pods, height 1 3/8 in., diameter 4 1/2 in. $700/900

$700/900 Provenance: Christie’s, New York.

W denotes the lot is illustrated at


W 614. A Chinese Blue and White Porcelain Ovoid Jar,

17th/18th c., shaped panels enclosing scholarly objects and antiques on a “cracked ice” ground strewn with prunus blossoms, base with Kangxi (1662-1722) double circles in underglaze blue, height 6 3/4 in. $700/900 615. A Chinese Langyao “Sang de Boeuf” Vase, 18th/19th c., elegant elongated baluster form with soft sloping shoulders issuing a slightly flared columnar neck, the flared foot rim supported on a short foot, applied overall with a speckled copper-red glaze neatly terminating at the unglazed foot, interior and recessed base with crackle sufficed white glaze, height 16 1/2 in. 612

$2500/3500 W 616. A Chinese Blue and

White Porcelain “Arrow” Vase, 19th c., faceted square baluster body issuing a long neck with a pair of tubular sleeve handles, raised on a tall flared foot with recessed base, height 13 1/8 in. $800/1200 617. A Chinese KangxiStyle Famille Verte Porcelain Jardinière, late 19th c., heavily potted cylindrical body with shaped figural, floral and auspicious emblem reserves on a green “cracked ice” ground strewn with butterflies and flower heads, height 10 1/4 in., diameter 11 1/4 in. $1000/1500


613 (2 of 4)

612. A Chinese Junyao Bowl, Song/Yuan Dynasty, 12th/13th c., rounded sides covered inside and out with a milky blue glaze thinning to mushroom at the rim and pooling toward the unglazed base and foot, the interior with a large splash of green and purple, height 2 3/4 in., diameter 6 3/4 in. $1800/2500 613. Yi Zi Qing (Chinese, 19th/20th c.), “The Four Seasons”, four paintings, each ink and color on paper, “Winter” signed, inscribed and sealed middle left, each 35 1/2 in. x 11 in., mounted and framed alike. $1500/2500


W 618. Sun Tianmu

(Chinese, 1911-2010), “Mountainous Landscape with Waterfall and Winding River”, ink on paper mounted as a hanging scroll, inscribed and sealed middle right, sealed lower right, 30 3/8 in. x 18 5/8 in. $700/900

Note: Sun Tianmu, a Northern School landscape painter from Shandong Province, studied under Chen Shaomei (1909-1954). Sun’s work has been widely exhibited and reproduced; 617 publications include Sun Tianmu Paintings, Sun Tianmu Selected Works of Chinese Painting, and Chinese Modern Master Paintings: Sun Tianmu. A recent exhibition, “Sun Tian-mu: Great Landscape Paintings with Respect to the Spirit of the Song Dynasty”, celebrating the artist’s forthcoming 100th birthday, was held at the Beijing Fine Art Academy earlier this year, just prior to Sun’s passing in October.

619. A Chinese Light Gray Nephrite Jade Brush Washer, early 20th c., carved as a double gourd with shaped apertures, the whole encircled by a flowering prunus branch, surmounted by a song bird and a lady bug, height 2 1/8 in., width 6 1/4 in. $1000/1500



620. A Chinese White Jade Figure of a Chimera, 19th c., the mythical beast carved seated on its haunches, its round back with a pronounced ridged backbone, the body with allover etched basketweave pattern beneath smooth raised stylized wings, height 2 1/4 in., width 2 3/4 in. $1000/1500 621. A Set of Four Chinese “Treasured Objects” Wall Panels, each hardwood panel embellished with four treasured objects on carved ivory and wood stands, the objects set with jade, jadeite, coral, quartz and other hardstones, each height 43 1/4 in., width 13 1/4 in.


$3000/5000 622. Chinese School, 20th c., “Flowering Branches”, attributed to Tang Yun (1910-1993), ink and color on paper mounted as a hanging scroll, inscribed and sealed upper to middle left, sealed lower right, sight 54 in. x 18 3/4 in.

621 (2 of 4)

W 623. A Chinese Celadon Green and Russet Brown Jade

Covered Vase, mid-20th c., faceted baluster body with incised decoration carved to the sides with multiple handles, the cover surmounted by a liondog finial, height 6 5/8 in, fitted wood stand, storage box.




624. A Chinese Green and Russet Brown Jade Figure of Beauty, Meiren, early 20th c., the slender elegant female carved of green jade wearing long flowing robes and grasping a tall flowering prunus branch at her side, two of the blossoms carved utilizing the natural russet inclusions of the stone, height 6 in., hardwood stand. $1000/1500 W denotes the lot is illustrated at


627. A Chinese Pale Celadon Jade Brushpot, early 20th c., modeled in the form of a bamboo shoot, the exterior relief carved with pine, bamboo and lotus, height 3 5/8 in., width 2 1/8 in. $700/900


628. A Chinese Hu-Form Porcelain Vase with Deer Head Handles, early 20th c., the pear-shaped body polychrome enameled with two shaped panels enclosing a pair of song birds on rocks amid peony blossoms surrounded by eight entwined bats, reserved on a white ground strewn with blue carp, palm leaves and flowering plants, recessed base with six-character Guangxu (1875-1908) mark in underglaze blue, height 12 1/4 in.


$2000/3000 Provenance: Arkansas estate. W 629. A Chinese Famille

Rose Dish, late 19th c., shallow interior delicately enameled with floral sprays, the base with a six-character Guangxu (1875-1908) mark in iron red, height 1 3/8 in., diameter 7 1/4 in. $600/800


625. A Chinese Cloisonné Enamel Jardinière Set with Lotus Flowers and Leaves, early 20th c., the leaves, buds and blossoms brightly enameled in varying shades of pinks and greens supported on textured metal stems, approx. height 20 1/2 in.

630. A Chinese Famille Rose Porcelain Panel by Wang Yeting (Chinese, 1884-1942), painted with a river scene set between a mountainous landscape and a rock embankment, depicting a small boat carrying two passengers in the foreground, signed, dated 1932, and inscribed and sealed upper right, sight height 13 3/4 in., width 9 1/4 in., framed, overall height 16 in., width 11 3/4 in.



626. A Chinese Lavender and Apple Green Jadeite Duck, Frog and Lotus Group, late 19th /early 20th c., carved with a central duck figure raised on crashing waves amid lotus, its head turned over its backside grasping a lotus blossom in its beak and facing a small frog crouched on its back, height 2 5/8 in., width 3 3/8 in.

W 631. A Near Pair of Chinese


$1000/1500 630


Turquoise Glazed Porcelain Bottle Vases, 19th/20th c., globular bodies with tall slender cylindrical necks and short feet, overall closely-crackled deep turquoise glaze thinning at the mouth, height 12 in., giltwood stands. $600/800

W 632. A Pair of Chinese

“Wang Bing Rong” Relief Decorated Porcelain Vases, late 19th/early 20th c., each of hexagonal form relief carved with seasonal flowering branches and insects, bases with raised four character Wang Bing Rong Zuo marks, height 11 1/8 in. $600/800 Provenance: Estate of interior designer Winifred Lucas (1910-2001). 633. A Chinese White Jade Plaque Mounted as a Mirror on Stand, the jade 18th/19th c., the mirror and mount later, the lobed oval jade plaque carved to one side with two Immortals walking on water beneath an old pine surrounded by cliffs, framed within a silver foliate surround, bearing impressed mark “SILVER”, mirror en verso, jade height 4 1/4 in., width 2 5/8 in.; raised on a fitted hardwood stand, overall height 6 7/8 in.



$1800/2500 634. A Chinese Greenish White Jade Duck Group, 19th c., carved as two ducks joined together, one carrying a lotus blossom clasped within its beak, the other with lotus fruit, height 1 3/8 in., width 3 in. $700/900 Note: In Chinese iconography two ducks are symbolic of marital harmony. When one is depicted with a lotus blossom and the other with a lotus fruit, together they express the wish for a marriage blessed with offspring. W 635. A Chinese Celadon Jade

Guanyin, 19thc., carved seated in a position of “royal ease” with both hands resting on one raised knee, holding a ruyi scepter across one arm, wearing long robes and a bead necklace, the hair tied high in a knot held with a tiara and draped with a cowl, height 8 3/4 in. $600/800 W 636. A Chinese Greenish

White Jade Leaf Form Pouring Vessel, 19th c., deep tear-drop form carved with a leafy vine handle, raised on a short foot with a recessed base, height 1 1/8 in., length 5 3/4 in.

W 637. Chinese School, late 19th/

early 20th c., “Female Figures in a Rocky Landscape with Bamboo and Palm”, attributed to Cao Zhongying, ink and color on silk mounted as a hanging scroll, inscribed and sealed upper left, sealed lower right, sight 37 1/2 in. x 7 1/2 in. $600/800 638. A Chinese Copper Red Porcelain Dish, early-to-mid 19th c., deep circular form raised on a short foot, covered evenly in a dark liver red glaze receding from the rim and around the waisted foot, base with Daoguang (1821-1850) seal mark in underglaze blue, height 1 7/8 in., diameter 7 1/4 in., storage box. $1200/1800

W 640. A Chinese Flambé Glaze Porcelain

Brush Washer, 18th/19th c., of compressed circular form with allover rich copper red, blue and lavender suffused glaze and white rim, raised on a circular foot, with a recessed iron brown glazed base, height 1 1/4 in., diameter 4 3/4 in. $500/700 W 641. Wan Ding (Chinese, b. 1955), “Myste-

rious Yuan Ware: Perhaps the Mice Will Unlock its Secrets”, ink and color on paper, signed, inscribed and sealed upper to middle left, sealed lower right, signed and dated, “Wan Ding 1997” on mat, 25 1/4 in. x 17 1/2 in., mounted and framed. $500/700

W 639. A Pair of Chinese Kangxi-

Style Blue and White Porcelain Gu Form Beaker Vases, late 19th/early 20th c., each upper and lower section with continuous landscape scenes, the bulbous waists banded with wind-blown bamboo, bases with apocryphal four character Kangxi marks, height 10 1/8 in. $600/800


W 642. A Chinese Carved Stone Fourteen

Piece Miniature “Orchestra”, 20th c., the group assembled from a variety of stones including jade, rose quartz, tiger’s eye and agate, highlighted with lapis, malachite, coral and goldstone; made in the semblance of many miniature stringed, percussion and wind instruments, tallest height 4 1/2 in., stands. $400/600

$700/900 W denotes the lot is illustrated at




Session Two Sunday, November 21, 11 am 3923 Carondelet Street

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643. [Mardi Gras], Consus Ball favor mirror, 1899, “Salle des Glaces de Versailles”. $300/500 W 644. [Mardi Gras], a Mistick

Krewe of Comus 10 kt. yellow gold pin favor, 1915, “Lore and Legends of Childhood”. $200/400 643 W 644A. [Mardi Gras], Mistick

Krewe of Comus Ball dance card, February 16, 1904, “Izdubar”, and a ball invitation, February 11, 1975, “Comus’ Constellations”, reproduced in Henri Schindler’s Mardi Gras Treasures: Invitations of the Golden Age, Pelican Publishing Company, Gretna, 2000, p. 37, (2 pcs.) 644A

$200/400 W 645. [Mardi Gras], Krewe of Proteus Ball

W 652. [Mardi Gras], a Mistick

sterling silver pin favor, 1913, “Adventures of Telemachus”, reproduced in Henri Schindler’s Mardi Gras Treasures: Jewelry of the Golden Age, Pelican Publishing Co., Gretna, p. 153.

Krewe of Comus Ball dance card, 1905, “The Lost Pleiad”, and a ball invitation, 1978, “Sorcery”, (2 pcs.) $200/400

$200/400 646

W 653. [Mardi Gras], a Mistick

W 646. [Mardi Gras], Twelfth Night

Krewe of Comus Ball invitation, March 1, 1927, “Arabesques”.

Revelers Ball dance card, January 6, 1913, “The Origins and Quaint Customs of Twelfth Night”, reproduced in Henri Schindler’s Mardi Gras Treasures: Invitations of the Golden Age, Pelican Publishing Company, Gretna, 2000, p. 83.

$200/400 W 654. [Mardi Gras], a Mistick

Krewe of Comus Ball dance card, 1912, “Tales from Cathay”.



W 647. [Mardi Gras], a High Priests

W 655. [Mardi Gras], two Krewe of

of Mithras Ball dance card with pencil, 1914, “The Evolution of Music”.

Proteus Ball invitations, March 6, 1905, “The Rubaiyat” and February 6, 1978, “Creatures and Curious Clichés”, (2 pcs.)

$200/400 655


W 648. [Mardi Gras], a High Priests

of Mithras Ball dance card, 1913, “Alice in Wonderland”. $200/400 W 649. [Mardi Gras], a Knights of Momus Ball

dance card and pencil, the latter inscribed “Dixon’s Programme”, 1904, “Visions of the World’s Vanities”, and a ball invitation, 1978, “Momus Deals”, the former reproduced in Henri Schindler’s Mardi Gras Treasures: Invitations Golden Age, Pelican Publishing Company, Gretna, 2000, p. 116, (2 pcs.) $200/400

W 650. [Mardi Gras], a Rex Ball dance

W 656. [Mardi Gras], a Krewe of

card, February 24th, 1914, “The Drama of the Year”.

Proteus Ball dance card, 1905, “The Rubaiyat”.



W 650A. [Mardi Gras], Rex krewe favor

W 657. [Mardi Gras], a Krewe of

hand mirror, 1912, “Phases of Nature”. $75/125

Proteus Ball dance card and pencil, the latter marked “Engagements”, 1904, “The Alphabet”. $200/400

W 651. [Mardi Gras], a Falstaffians Ball

tableau programme/dance card, 1912, “Yusef and Zorayda”. $200/400

W denotes the lot is illustrated at



664. A Fine Confederate Era Carved Coconut Flask, c. 1862, the reserves carved with a bouquet, a musical trophée, and a grouping showing a Confederate flag, overall fine detail of foliage and scrolls, a shield with the initials “T. V”, length 5 1/2 in., diameter 3 in.

665 664

W 658. A Confederate Louisiana

Guard Tintype, sixth-plate of 2nd Lieutenant George Cammack, Louisiana Guard Battalion, in a book-form case with “gilt” pages, the full-length pose in full dress uniform, his buckle stamped “LGB”, photo marked in pencil “Uncle George”, verso.

$2000/3000 Note: The carvings on this coconut are related to pieces by a known carver, J. B. Richardson of the 2nd Company, Washington Artillery, Louisiana, and illustrated in William C. Davis, Fighting Men of the Civil War, University of Oklahoma Press, 1998, pg. 164.

$600/900 W 659. [Rare Naval Armament Book],

System of Boat Armament in the United States Navy: Reported to Commodore Charles Morris, Chief of Bureau of Ordinance and Hydrography, by Lieut. J. A. Dahlgren, Assistant Inspector of Ordinance (In Charge of Experimental Department), printed by A. Hart, Phila., 1853, 4to, 3/4 leather, 122 pgs., with numerous illustrations, some printed in color, the pastedown with inscription “From the Library of Capt. Catesby R. Jones of the Confederate Navy”. $500/700


W 661. A Group of Ten New

Orleans Confederate-Era Newspapers, comprising five issues each of The Daily Delta and the New Orleans Daily Crescent. $600/900

W 660. An American Hand-Colored

Engraving of “The Federal Army, Under General Grant, Taking Formal Possession of Vicksburg, July 4th, 1863, After the Surrender”, 19th c., page numbered “78-79” lower left, inscribed “From a Sketch by F.B. Schell” mid-bottom, sight 16 1/4 in. x 21 1/2 in., framed. $300/500 W 660A. A Civil War Journal of Lieutenant

John W. Greenman, 8th Wisconsin Regiment, rewritten 1898, using war-era journals from 18611865, extensive entries detailing battles and various cities of the “Eagle Regiment”, 12 in. x 7 ½ in. over 150 pages $800/1200


W 662. [Beauregard Signed

Book], Southern History of the War, Official Reports of Battles, as Published by Order of the Confederate Congress at Richmond, published by Richardson, NY, 1864, with Beauregard ownership signature on second free endpaper, green cloth, 578 pgs.

665. A Remington New Model Army Revolver, c. 1860s, serial # 9925, 44 caliber, 8-inch, NRA Fair, loading lever, barrel lug and cylinder pin replaced. $1000/1500 666. A Peabody Carbine, Providence Tool Company, pat. 1862, NRA Good. $1000/1500 W 667. A Manhattan Navy Type

Series IV Revolver, serial # 58776, 6 1/2 inch barrel, 5 shot, NRA Good. $600/900


Saber, by Horstman, Philadelphia.

668. [Confederate Imprint Map], “Plan of the Western Seat of War”, published by H. P. Lathrop, printed by J. Manouvrier, New Orleans, sheet 16 in. x 23 1/2 in.



W 663. A Model 1840 Calvary

669. [Confederate Imprint, Broadside], “A Proclamation/ to all soldiers in this department absent from their commands without leave/ Headquarters, Demopolis, April 16, 1864”, a long and detailed statement of amnesty for deserters relating the option to return, by May 20th, to their commanding officers or the Post at Meridian, MS, by command of Lieut. Gen. Polk, 10 1/4 in. x 8 3/4 in.

W 676. [Confederate Imprint],

Ordinances Passed by the Convention of Louisiana, at its First Session, together with the Constitution of the State of Louisiana, as Amended, Rules of Order & c., & c., printed by J. O. Dixon, printer to the convention, New Orleans, 1861, 78 pgs., contemporary cloth binding, exlibris from the Rosenberg Library, Galveston, Texas. $500/700

$1000/1500 W 677. [Louisiana Infantry, Third W 670. [Louisiana Confederate

Regiment], A Southern Record, The History of the Third Regiment, Louisiana Infantry, by W.H. Tunnard, 1866, Baton Rouge, LA, signed by author in dedication on front endpaper, brown cloth.

Soldiers], Records of Louisiana Confederate Soldiers and Louisiana Confederate Commands, compiled by Andrew B. Booth, Commissioner Louisiana Military Record, printed in New Orleans, 1920, three volumes in four books, cloth.




W 678. An Antique American

Hickory Bentwood Rocking Chair, early 20th c., Tennessee, slat back, scrolled branchwork arms, rockers.

W 671. [Confederate Imprint,

Broadside], “Head Qr’s Military Division of the West, Jacksonville, Ala, Oct, 17th, 1864, General Orders No. 1”, small broadside, cut by the printer, with several type faces, signed in type by Beauregard, announcing the assumption in command and asking for loyalty of the troops, 5 1/2 in. x 5 1/4 in.

$150/250 679. An Antique American Pine and Mixed Woods Bookcase, late 19th c., probably Southern, outset cornice over a pair of large glazed doors, the lower case with paneled cupboard doors, blocked, molded base, height 99 1/2 in., width 64 in., depth 21 1/4 in.

$500/700 W 672. [Confederate

Imprint], Proceeding of the Court of Inquiry, Relative to the Fall of New Orleans, published by order of Congress, 1864, printed by R. M. Smith, Publick Printer, Richmond, soft, 208 pages.

$2000/3000 W 680. An Early American

Mixed Woods Ladderback Rocking Chair, late 18th/early 19th c., having four arched slats, finials, scrolled splayed arms, turned uprights, rush seat, turned legs, bulbous stretcher, knife edge rockers.

$500/700 W 673. [Confederate

Imprint], Proceedings of the Louisiana State Convention (in English and French), together with the Ordinances passed by said Convention and the Constitution of the State as Amended, printed by J. O. Nixon, New Orleans, 1861, 3/4 leather, 330 pgs. $500/700 W 674. [Confederate Imprint], The

Confederate States Almanac and Repository of Useful Knowledge for 1862 , published by H. C. Clarke, Vicksburg, MS, second edition, soft, 80 pgs. $600/900

$200/400 Provenance: Museum of Fine Arts, Houston, Bayou Bend Collection, gift of Miss Ima Hogg, 1972. 679 W 681. A Pair of American W 675. [Civil War Imprint],

Correspondence between the War Department and General Lovell, relating to the Defenses of New Orleans, Submitted in Response to a Resolution of the House of Representatives Passed Third February, 1863, printed by R. M. Smith, Richmond, 1863, contemporary binding, 123 pgs.

Classical Fancy Painted Side Chairs, c. 1830-1840, arched fruit and nut painted crest, medial slat, turned spindles, shaped seat, turned splayed legs, stretchers. $250/350 Provenance: Museum of Fine Arts, Houston, Bayou Bend Collection, gift of the estate of Miss Ima Hogg (1882-1975), 1975.

$500/700 W denotes the lot is illustrated at


W 686. A Pair of


W 683. An Antique Hand-Colored Map of

the Southern Provinces of the United States, 1817, from Thomson’s New General Atlas, copper-engraved map, sheet 21 1/2 in. x 28 3/4 in. $500/700 W 684. A Decorative Hand-Colored Map of

Spain, after Sanson, later restrike, sight 11 1/4 in. x 16 1/8 in., matted and framed. $300/500 685. A Pair of New Orleans Cast Iron Benches, 19th c., one stamped “Hinderers Iron Works NOLA” on the seat rail, the other on the back of the stile; each with scroll crest, interlocking arches, scrolled arms, pierced seat, floral, leaf and beaded cabriole legs, scroll toes, height 35 in., width 42 1/2 in., depth 17 3/4 in. $2000/3000


W 682. A Pair of American Ash Ladder Back Side

Chairs, 19th c., having three shaped slats, chamfered stiles, cowhide seats, turned legs, stretchers. $150/250 Provenance: Acquired by Miss Ima Hogg from John Boeker, Brenham, TX, 1962; thence to Museum of Fine Arts, Houston, Bayou Bend Collection, gift of Miss Ima Hogg.


Note: The pattern for this bench pair was first patented by Carron, a Scottish ironworks, in 1846. The form appears in the United States by 1848 from firms such as J.W. Fiske and J.L. Mott (New York). The American versions of the bench feature cabriole rear legs, as seen here, and were advertised as the “Gothic” or “Rococo” pattern. Fredrick C.A. Hinderer established an ironworks in New Orleans in 1886 at 302 Camp Street, relocating to 1112 Camp Street before 1894. Hinderer died in 1910. The firm specialized in New Orleans architectural ornament and garden furniture. Reference: Israel. Antique Garden Ornament, Two Centuries of American Taste. P. 170, fig4.6 and Masson. Cast Iron and the Crescent City, p. 46.

New Orleans Cast Iron Armchairs, late 19th c., with “Hinderers Iron Works NOLA” foundry stamp “April 25, 1881” in the “Curtain” pattern, with rosette and scroll crest; loss to one chair. $300/500 Provenance: Discovered at a New Orleans Garden District home. Note: Benches of the same pattern as those offered here (also bearing the Hinderer mark) are illustrated in Masson. Cast Iron and the Crescent City, p. 41 (see also page 46 for a history of the firm). 687. A Pair of Classical-Style Cast Iron Garden Figural Groups, comprised of winged cherubs sitting in naturalistic foliage, profusely decorated pedestal bases, height 30 in. and 28 in., pedestal height 24 in. $1500/2500

688. An Antique Cast Iron Ship’s Bell, with original wood yoke, height 22 in., diameter 14 in. $600/900


689. An American Cast Bronze Plantation Bell, mid-19th c., signed Vanduzen & Tift, Cincinnati, complete with clapper and cast iron yoke supports, now mounted on a wooden base.


$3000/5000 Provenance: Rosedown Plantation, St. Francisville, LA. 690. A Massive American Cast Iron Plantation Bell, 19th c., with clapper, wheel and bracketed iron yoke, height 28 in., bell diameter 29 in.


$2500/3500 Provenance: Found along the False River, Pointe Coupee Parish, LA.


691. A Southern Walnut Corner Cupboard, 19th c., shallow cornice above a twelve-light glazed door, shelf interior, ogee molded stiles, the waist having three bolection-molded drawers above paneled cupboard doors, on bold scroll feet, height 89 1/2 in., width 50 1/2 in., depth 22 1/2 in. $2500/3500 692. An Antique Louisiana Cypress Work Table, 19th c., two plank top, plain skirt, square tapered legs with kerosene markings, height 28 in., width 48 1/4 in., depth 26 3/8 in.


$800/1200 W denotes the lot is illustrated at


693. An Antique American Walnut Plantation Desk, 19th c., the superstructure of four doors enclosing scalloped letter compartments, above recessed shelf with cast iron candlearms flanked by drawers, slant front writing surface, two drawers, turned tapered legs, note: estate condition, height 62 in., width 60 1/2 in., depth 37 in. $1500/2500 694. A Monumental New Orleans Rococo Carved Rosewood Bedstead, mid19th c., attrib. to William McCracken, the headboard having a molded arched crest surmounted by a foliate cartouche, cluster column posts with lobed and turned finials, shaped rails with scrolling leaves and palmette cartouches, casters, height 75 in., length 78 in., width 61 7/8 in.




Provenance: Descended in the family of Marie Emeranthe Becnel Brou Hermann (17761851).


695. An American Federal Tiger Maple Poster Bed, c. 1800, later cypress headboard, finely turned vasiform posts, conforming rails, turned legs, ball feet, height 93 in., length 74 1/2 in., width 51 in. $800/1200 Provenance: Deaccessioned by the Louisiana Landmarks Society. 696. George Gay (American/New Orleans, d. 1914), “Lake Ponchartrain”, oil on canvas, signed and dated “1891” lower right, 12 in. x 15 in., in a giltwood frame. $2000/4000



697. Clementine Hunter (American/ Louisiana, 18861988), “Melrose Plantation”, oil on canvas board, monogrammed middle-right, 18 in. x 24 in., framed. $2500/3500 Provenance: Acquired from the artist. W 698. Theodore

“Fonville” Winans (American/Louisiana, 1911-1992), “Ferry Landing, Port Allen, Mississippi River”, silver gelatin photograph, signed and dated “1938” lower right, artist label with file no. 121A and Print No. 18 en verso, 16 in. x 20 in., framed.


$500/750 W 699. Theodore “Fonville”

Winans (American/Louisiana, 1911-1992), “Captain Tony, Morgan City, 1938”, silver gelatin print, signed and dated “1939” in negative, titled numbered “044A” and dated “1991” en verso”, 16 in. x 20 in., unframed.



W 704. [Louisiana Obsolete

Currency], sheet of four uncut Citizens Bank of Louisiana $100 notes, unsigned, in a silver gilt frame, matted with glass back window, 12 3/4 in. x 7 5/8 in.

W 700. Theodore “Fonville”

Winans (American/Louisiana, 1911-1992), “Long Memorial”, silver gelatin print, signed lower right, inscribed “Robert L. Winans 599” and stamped “Stamp of Authenticity this print is from the Fonville Winans Estate Collection 1995” en verso, 4 3/4 in. x 3 1/4 in., unframed. $400/600 701. [Huey P. Long Signed Book], Every Man a King, The Autobiography of Huey P. Long, published by the National Book Co., Inc., New Orleans, LA, 1933, with scarce dust jacket, signed dedication on first free endpaper. $600/900

$300/500 W 705. [New Orleans Atlas], The World


702. [Huey P. Long Campaign Broadside], “Carry On the Work of Huey P. Long and O. K. Allen”, 1936, lithograph and photographic reproduction, printed by the Franklin Printing Co. Inc., 627-29 Poydras St., N.O., sight 28 in. x 20 in., framed.

in Miniature with Descriptions of every Nation and Country, together with A Treatise on Physical Geography, 1857, by Charles Colby, published by Arthur B. Griswold, New Orleans, LA, 239 pages, with hand-colored maps, 7 1/2 in. x 6 3/4 in. $400/600


W 706. [Louisiana Map], “Preliminary

Note: This poster was printed for the 1936 gubernatorial election as that year’s Democratic Party ticket was comprised of Judge Richard Leche and Huey’s younger brother Earl Long. The “Carry On” theme advances the continuation of the Populist programs put in place by the late Long and Allen.

Geological Map of Louisiana”, by Dr. F. V. Hopkins, in conjunction with the LA State University, Baton Rouge, LA, Topographical, Geological and Botanical Survey, published by Colton, NY, 1870, sight 13 in. x 15 1/2 in., attractively matted and framed. $500/700

W 703. A Russell Long Senate Campaign

Reference: Lemmon, Magill and Weise, Charting Louisiana, Five Hundred Years of Maps, 2003, pg. 234.

Broadside, promoting his first Senate race c. 1948, printed Shreveport, LA, sight 21 in. x 13 in., in an attractive églomisé frame with brass corners. $300/500 W denotes the lot is illustrated at


W 714. A Group

of Six Antique Louisiana Mixed Woods Ladderback Chairs, 19th c., Thibodeaux area, shaped ball finials, tapered stiles, three arched slats, turned legs, rush seats, stretchers, turned feet. $500/700



W 707. A St. Tammany Parish Advertising

Broadside, early 20th c., promoting the North Shore development of Forest Glen, sight 15 1/2 in. x 39 1/2 in., framed. $400/600 W 708. A Group of Three World’s Fair

Ribbons from The 1884/1885 Worlds Industrial Cotton Centennial Exposition, New Orleans.


$150/250 709. [New Orleans Illustrated], Jewell’s Crescent City Illustrated, The Commercial, Social Political and General History of New Orleans, including Biographical Sketches of its Distinguished Citizens, 1874, edited and compiled by Edwin L. Jewell, small folio, cloth, 340 pages, with over 175 illustrations. $1200/1800 W 710. [Louisiana History], Charles Gayarre,

Histoire de La Louisiane, 1846-1847, published by Magne & Weisse, 81 Rue de Chartres, NouvelleOrleans, first edition, 3/4 leather with marbled boards, gilt titles, raised bands. $500/700 711. [Lafcadio Hearn], The Idyl: My Personal Reminiscences of Lafcadio Hearn, by Leona Queyrouze Barel, published by The Hokuseido Press, Tokyo, Japan, 1933, 4to, 65 pages, original rough olive cloth, limited edition, this being #16 of 250, in publisher’s clamshell box. $800/1200

W 712. [Creole Cultural

Interest], two volumes of bound issues of the Revue Louisianaise, published by the Societe Litteraire et Typographique de la Nouvelle Orleans, covering the dates from April 1846 through March 1847, 1/4 leather, with gilt titles, together with Rien ou Moi, Poesies Nouvelles, by M. Tullius St. Ceran, published by Gaston Brusel, Nouvelle Orleans, 1837. $500/700 W 713. A 1984 New

Orleans World’s Fair Scrapbook/Autograph Book, containing a variety of signed inscriptions, in various languages, including Lindy Boggs and a portrait sketch by New Orleans portrait artist Jay Langhorne, most entried date “11/10/84” and “11/11/84”. $200/400


W 715. A Pair of Antique Louisiana

Cypress Ladderback Side Chairs, 19th c., Thibodeaux area, tall tapered stiles, three arched slats, rush seats, turned tapered legs, stretchers, one with old green paint. $300/500 716. An Antique Louisiana Cypress Dugout Pirogue, 19th c., Acadian, carved from a single cypress log, height 17 in., length 126 1/2 in., depth 22 in. $800/1200 Note: The dugout pirogue is the oldest boat type in Louisiana and remained in use well into the early 20th century. Plank pirogues began replacing dugouts by 1930, when large cypress logs became scarce; changing patterns of boat storage also contributed to the demise of the dugout. Professor C. Ray Brassieur of the University of Louisiana, Lafayette, notes that cypress boats are most durable when left partially submerged, but that also leaves them vulnerable to theft. Modern habits of trailering and frequent relaunching of boats leads to shrinkage cracks in dugout hulls which are avoided with later plank-constructed pirogues. Reference: FLImagesListing.asp?Page=418

W 717. An

American Classical Mahogany Work Table, early 19th c., rectangular top above ogee molded drawer and deep drawer, spreading stem, serpentine plinth, outswept legs, casters, height 30 in., width 23 in., depth 15 1/2 in. $200/400





718. A Small Patinated Bronze Figure of an Alligator, mouth agape and tail aloft, height 27 in., length 43 in., width 17 in.

721. An American Classical Carved Mahogany Lolling Chair, early 19th c., tall shaped back, padded arms terminating in swan’s neck supports, deep seat frame, turned tapered legs, cuffs, casters.

$1200/1800 719. Alexander John Drysdale (American/ New Orleans, 1870-1934), “Live Oak on the Bayou”, oil wash on board, pencil-signed lower right, with a “Taylor Clark, Baton Rouge, LA” label en verso, sight 19 1/8 in. x 28 7/8 in., matted and framed.

$800/1200 722. An Antique Louisiana Cypress Rocking Cradle, 19th c., slatted frame, moss stuffed Acadian homespun cotton mattress, height 31 in., length 42 in., width 17 in.

$2500/3500 Provenance: Estate of interior designer Winifred Lucas (1910-2001), active 1950-1970s, Baton Rouge, LA, thence by descent.

$1000/1500 720. Colette Pope Heldner (American/New Orleans, 1920-1990), “Old Archway, Brulatour French Quarter, New Orleans”, oil on canvas, signed lower left, signed and titled en verso, 35 3/4 in. x 30 in., framed.


$1200/1800 W denotes the lot is illustrated at


723. An American Late Classical Carved Mahogany Dressing Table, c. 1830, having an oval mirror with yoke support, base with long drawer, cabriole legs, scroll toes, turned medial stretcher, height 55 in., width 31 3/4 in., depth 18 in. $600/900 724. An American Classical Mahogany Wardrobe, early 19th c., Baltimore, the later molded cornice above a pair of paneled doors, enclosing graduated half drawers over two drawers, the rectangular plinth on ring turned ball feet, height 74 in., width 56 1/2 in., depth 24 in.


726. An Antique American Surgeon’s Kit, c. 1850, mahogany brass-bound case, most of the instruments, including saw, tourniquet, snips, forceps marked by Baltimore maker Frank Arnold, with other unmarked pieces, case height 3 in. width 16 1/2 in. depth 7 in.




Provenance: Dr. Edward l’Engle, Johns Hopkins University.


W 727. A Large Group of Antique American Coin and

Sterling Silver Spoons, various makers and patterns, including 2 fiddlethread tablespoons, Whartenby, Philadelphia; a fiddle typt tablespoon, R. & W. Wilson, Philadelphia; a fiddle typt tablespoon, Daniel Goddard, Worcester, MA; 5 fiddle typt teaspoons, C.J. Adams & Co., Bowling Green, KY; 2 fiddle back teaspoons, T. Baker; 4 fiddle typt teaspoons, Chandless, NY; 5 fiddle typt teaspoons, various makers, (22 pcs.), weight 15.6 troy ozs. $300/500 724

19th c., rectangular top, two drawers, turned and carved legs, brass cuffs, height 28 7/8 in., width 22 3/8 in., depth 17 3/4 in.

728. An American Coin Silver Sugar and Creamer, Haddock, Lincoln & Foss, Boston, c. 1850-1865, helmet form creamer and urn form sugar with a swing handle, on circular feet, beaded border and chased strapwork decoration, creamer height 5 7/8 in., weight 11.85 troy ozs.



W 725. An American Classical Mahogany Work Table, early


729. A Set of American Coin Silver Flatware in the “Grecian” Pattern, pattern patent 1862; maker Henry Hebbard, New York, NY, wc. 18471869; ret. Walter Pearce & Co., Mobile, act. 1850-1867, and Starr and Marcus, New York, act. c. 1865-1877, comprising 6 tablespoons, 6 dinner forks, 7 teaspoons and 2 serving spoons, weight approx. 34.20 troy ozs (21 pcs.)

731 729

$600/800 W 730. An American

Sterling Silver Fiddlethread Soup Ladle, Wood & Hughes, New York, act. c. 18451899, ret. John H. Pippen, Mobile, 18721881, period script monogram, length 13 in., weight approx. 6.05 troy ozs.



$300/500 W 733. An American Coin

731. A Set of Eight American Coin Silver Fish Forks with Bright Cut Decoration, Bailey & Co., Philadelphia, 18461878, marked “BAILEY & CO.” and with pseudo hallmarks, twist handles having single faced engraved tines and downturned oval terminals, engraved “M. Morgan”, length 7 1/4 in., weight 10.40 troy ozs. $200/300 W 732. A Neo-Grec

Silverplate and Cut Crystal Centerpiece, the cut crystal finial and bowl on well-cast support of mythical birds on lobed dome base with shell and scroll feet, height 18 in., diameter 11 1/2 in. $150/250

Silver Punch Ladle, Wood & Hughes, NY, wc. 1845-1899, ret. James Conning, Mobile, c. 1860, twist handle and fluted bowl, length 10 1/2 in., weight 3.45 troy ozs. $300/500 W 734. A Group of

American Coin Silver Spoons, V.W. Haskell, Orleans, MA, c. 1850, including 3 fiddleback tablespoons and 5 fiddleback dessert spoons, all engraved “Goodale”, (8 pcs.), weight 9.0 troy ozs.


$250/350 737. A Group of Late Georgian Sterling Silver Flatware, including a soup ladle, William Eley and William Fearn, London, 1806, mark registered 1797; a sauce ladle, maker WK WF, London, 1804; a tablespoon, London, 1816; a sugar tongs, George Wintle, London, 1821, mark registered 1813; and a sugar tongs, maker J.M., London, 1825, (5 pcs.), total weight 11.90 troy ozs.

W 735. An Early Victorian Sterling Silver

Cheese Scoop, Samuel Hayne & Dudley Cater, London, 1844, length 9 1/2 in., weight 1.5 troy ozs. $150/250

$400/600 736. Two George IV Sterling Silver Basting Spoons, one William Chinnery, London, mark reg. 1825 (Grimwade 3072) in the fiddle thread pattern; and one maker WC, London, 1830, in the fiddle pattern, both length 12 in., weight 10 troy ozs.

738. A Set of Twelve Georgian-Style Silverplate Service Plates, marked “Royal Castle, Sheffield”, having shaped edge with gadrooned rim, diameter 12 in. $1000/2000

$300/500 W denotes the lot is illustrated at


739. An Antique English Silverplate Salver, Elkington, Mason & Co., Birmingham, with English Registry mark for September 29, 1862, having lobed rim with graduated beading, strapwork chasing, unicorn crest, shell and scroll feet, diameter 16 1/4 in.

W 744. A Group of Four


French Lalique Glass Decorative Objects, 20th c., comprising a tapered vase marked “R. LALIQUE”, an ovoid vase with birds, marked “Lalique France”, a bird statuette with paper label “Made in France”, and a small free-form dish with swimmer, not marked.


$300/500 W 745. Three

Baccarat Crystal Decanters, 20th c., tapered panelcut bodies with original stoppers, etched mark on bottom, height 9 1/4 in., diameter 5 in. $300/500


W 741. A Wood & Hughes


“Marguerite” Pattern Sterling Silver Partial Flatware Service, 19th c., including 6 dinner forks, 6 teaspoons, 2 tablespoons, 1 master butter knife (fh), and 6 mother-of-pearl handled dinner knives, total weight (weighable) 19.20 troy ozs. (21 pcs.) $400/600

740. A Monumental American Classical Coin Silver Presentation Pitcher, by Robert & William Wilson, Philadelphia, wc. 1825-1846, marked R. & W.W. in rectangle, floral and foliate scroll handle, central body with repoussé foliate scroll and shell decoration, laurel wreath cartouche with presentation inscription “Farmer’s Bank of Reading to General George M. Keim, November 19, 1836”, applied die rolled banding, height 15 in., weight 41.20 troy ozs.

W 742. An American Sterling Silver

Flatware Service, Frank Smith “Federal Cotillion (formerly Edward VII)” pattern, introduced 1901, including 12 luncheon forks, 11 luncheon knives, 4 salad forks, 8 dessert forks, 12 soup spoons and 12 teaspoons, (59 pcs.), total weight (weighable) 62.80 troy ozs.


$1000/1500 W 747. A Pair of Royal

Worcester Dorothy Doughty Porcelain Mocking Birds, each modeled perched upon flowering peach branches, raised on circular bases set within rectangular wood plinths, heights 11 3/8 in. and 10 1/2 in. $600/800 W 748. A Pair of Royal

Cooler with Gilt Handles, 20th c., tapered fluted form, base with acid-etched stamp, height 9 1/8 in., width 10 3/4 in.

Worcester Gilt-Decorated Cream Porcelain Figural Vases, late 19th c., modeled by James Hadley, one a boy playing a recorder, the other a girl dancing, the vase portions disguised as tree trunks, fully marked, height 9 3/4 in., diameter 4 3/4 in.




$1500/2500 Note: General George May Keim (1805-1861) became major-general of the 6th Regiment, Pennsylvania Militia, which included the companies of Berks, Schuylkill, Dauphin and Lebanon Counties, in 1835. Active in public life from an early age, Keim would serve in Congress from 1838 to 1843. At the time of his death in 1861 he was organizing a company of volunteers for Civil War service.

746. A Pair of Royal Worcester Dorothy Doughty Porcelain Hooded Warblers, each modeled perched upon flowering Cherokee Rose branches, raised on circular bases set within square wood plinths, height 12 1/4 in. and 10 1/4 in.

W 743. A Baccarat Crystal Wine

W 749. A Pair of Royal Worcester Dorothy Doughty

Porcelain Ruby Throated Humming Birds, each modeled with blossoming fuchsia, one perched on a nest, the other hovering beside a blossom, raised on shaped rectangular bases set within rectangular wood plinths, heights 10 1/2 in. and 10 1/4 in. $400/600 750. A Royal Copenhagen “Flora Danica” Porcelain Triangular Cake Dish and a Square Bowl, 20th c., the cake dish labeled “Anemone Hepatica L.” and the bowl labeled “Anemone nemorosa L.”, both with gilt highlights, fully marked, bowl 8 1/2 in. square, dish 10 in. across. $800/1200


W 751. A. L. Eckardt

(German, late 19th/ early 20th c.), “Portrait of a Father and Daughter”, watercolor on ivory, signed and dated “1903” lower right, card en verso inscribed “A.L. Eckardt, Portrait-Maler, Für Elfenbein-Porzellan, Dresden, Bismarckplatz,” 3 1/2 in. x 2 3/4 in., unframed. $500/700 752. English School, early 19th c., “Portrait of a Gentleman”, oil on canvas, unsigned, old handwritten label en verso “C. Had...Portrait Painter, High Street, Shadwell”, sight 12 1/4 in. x 9 1/2 in., in period carved and painted wood frame.


$600/900 753. Austrian or German School, mid-19th c., “A Reverie, Accompanied by a Clarinet”, oil on canvas, unsigned, 14 in. x 13 1/8 in., in a later frame.


W 754. Spanish Colonial

School, late 18th/early 19th c., “The Virgin of Purity with a Dove, Rose, and Lily”, oil on copper, unsigned, 10 in. x 7 in., in a later frame. $500/750

$1000/1500 Note: This picture perfectly captures a mood of quiet contemplation, as a young scholar puts aside his ponderous, illuminated tome, and pen and ink, to sit on the edge of his desk before an open window to play gentle airs while staring out-ofdoors. The nature of the richly furnished interior, and the costume, suggest the painting’s composition in Germanic lands in the first half of the 19th century, under the influence perhaps of the school of Düsseldorf, which flourished from the 1820s through the 1860s and beyond. Because of the proximity of that center to the Netherlands, influences from 17th century Dutch masters, and the contemporaneous genre painters of the Low Countries, are also apparent in such paintings as this, with its reminiscence of artists such as Vermeer, Dou, and Metsu.

W 755. A Pair of Royal

Worcester Dorothy Doughty Porcelain Lazuli Buntings, each modeled perched upon flowering Choke Cherry branches, raised on circular bases set within square wood plinths, heights 11 1/4 in. $600/800

W 756. A Pair of Boehm Porcelain

Bobwhite Quail, each modeled perched on branches atop a shaped porcelain plinth, heights 7 1/2 in and 6 1/4 in.; together with a Boehm porcelain Baby Chickadee modeled atop a pine bough, height 3 1/8 in., and a Staffordshire porcelain Magnolia Warbler modeled perched on a branch, height 5 1/2 in. (4 pcs.) $200/400 W 757. A Wedgwood Polychrome

Glazed Pâte-sur-Pâte Porcelain Covered Urn, c. 1860, applied floral swags and cartouches with putti on a chocolate ground, on a square plinth with a brass socle, impressed mark, height 9 3/8 in. Note: Lid heavily restored; restorations to rim. $150/250 Provenance: Morton’s, 1981. Note: Robin Reilly and George Savage, The Dictionary of Wedgwood, p. 264.

W denotes the lot is illustrated at





W 763. A Continental

Patinated Bronze of “Apollo Belvedere,” late 19th/early 20th c., height 10 in., width 4 1/2 in., depth 4 in., together with an Italian Patinated Bronze of a Roman Soldier, early 20th c., height 12 in., width 4 1/4 in., depth 3 1/2 in. 762

W 758. After Sir William Beechey

(English, 1753-1839), “Horatio Nelson, Viscount Nelson, Duke of Bronte”, 1840, mezzotint, engraved by Thomas Hodgetts, published by Colnaghi, London, sight 14 1/4 in. x 11 in., in an antique mahogany and gilt frame. $200/300 759. An Antique Bronze Umbrella Stand, 19th c., probably English, crest centered with a strapwork lion’s mask, gadrooned umbrella holder with six wells, arched colonnade back, diapered drip pan, ball feet, height 26 in., width 26 3/8 in., depth 7 in. $400/600



760. An Antique English Silverplate and Cut Glass Whiskey Barrel on Stand, John Grinsell & Sons, Birmingham, late 19th c., cork with pig finial, height 11 in., length 11 in. $700/1000 761. An English Ebonized, Inlaid Mother-of-Pearl and Gilt-Decorated Barometer, mid-19th c., complete with weather dial, hygrometer, thermometer, level and butler’s mirror, height 37 1/2 in., width 10 in., depth 1 1/2 in. $800/1200 762. An Antique French Carved Wood Bust of Cardinal Richelieu, height 10 1/2 in., width 7 1/4 in., depth 5 3/4 in. $500/750

$200/400 764. A Pair of American Gothic Carved Rosewood Hall Chairs, c. 1840, Baltimore or Philadelphia, each with arched back with foliate and rocaille embellishments, shaped lift seat, conforming carved apron, cabriole legs. $1200/1800

765. An Elizabethan Revival Carved Oak Center Table, late 19th c., retailed by Druce & Co., London, octagonal top with inset leather and gadrooned edge, conforming skirt, carved supports on shaped plinth, and lion’s mask feet, height 30 in., width 47 in., depth 47 in. Note: Lacking drop pendants.





766. An English Rosewood Canterbury, early 19th c., molded top, spindled compartments, galleried stretcher shelf, turned feet, cuffs, casters, height 18 in., width 17 in., depth 13 5/8 in. $500/700 767. A George III Oak Welsh Dresser, early 19th c., stepped cornice above plate rack, the base with three short drawers over turned supports, plinth and bracket feet, height 74 in., width 69 1/8 in., depth 17 in.

768. A Queen Anne Walnut Bureau Bookcase, early 18th c., the molded cornice above a pair of shaped mirrored doors enclosing shelves, candle slides, the fall front lid with banded edge, fitted desk interior with stepped drawers, compartments and prospect door, two over three banded drawers, molded base, bracket feet, height 73 1/2 in., width 31 1/2 in., depth 20 1/2 in. $3000/5000


$2000/3000 W denotes the lot is illustrated at




771. A Pair of French Provincial Carved Walnut Fauteuils, 19th c., arched crest rail carved with wheat sheaves, tapered fluted legs ending in toupie feet. $1000/1500


772. A Louis Philippe Carved Giltwood Overmantel Mirror, mid-19th c., having a molded frame with rounded corners, beaded liner, enclosing a rectangular mirror plate, height 50 in., width 39 in. $800/1200


Provenance: Descended in the family of Marie Emeranthe Becnel Brou Hermann (1776-1851).

769. A Late Georgian Inlaid Mahogany Bowfront Chest of Drawers, c. 1800, four graduated drawers, shaped skirt, “French” feet, later brasses, height 39 1/2 in., width 39 in., depth 20 1/2 in. $600/800 770. A Louis Philippe Figured Mahogany Commode, mid-19th c., Gris de St. Anne marble top above an ogee frieze drawer over three long drawers, plinth base, block feet, height 35 1/2 in., width 51 1/2 in., depth 22 3/4 in. $1200/1800



773. An Engllish Carved Giltwood Girandole Mirror, 19th c., surmounted by an eagle on rockwork base and wheat sheaves, convex mirror plate, scrolled acanthus pendant issuing three candlearms, height 43 in., width 25 1/2 in. $2000/3000


774. A Pair of Monumental Blue and White Porcelain Vases, bulbous baluster bodies with flared feet and necks, decorated in the Chinese Ming style with a continuous outdoor figural scene between decorative banding, heights 27 7/8 in. and 28 1/8 in.



$2500/3500 775. A French Restauration Fruitwood Cupboard, early 19th c., stepped cornice, four paneled doors enclosing shelves, plinth base, height 85 5/8 in., width 52 1/2 in., depth 20 1/2 in. $2000/3000 776. A French Provincial Walnut Buffet, 19th c., rectangular top, three drawers over three paneled doors, shaped and molded apron, scrolled feet, height 39 1/2 in., width 79 1/4 in., depth 20 1/4 in. $1200/1800


777. An English Patinated Brass Lectern, 19th c., book rest with scalloped pierced reserve, etched scrolled foliate surround, floral mounts, the plinth with pierced surround of repoussé vine and leaf design, mounted on lion supports, open height 14 3/4 in., width 16 1/4 in., depth 11 1/4 in. $500/750

W denotes the lot is illustrated at


779. Continental School, early 20th c., a pair of oils on board including “Courting Couple in a River Landscape” and “Courting Couple with Dog Amid Classical Ruins”, in the style of François Boucher (French, 1703-1770), each unsigned, later labels en verso, 49 in. x 35 1/2 in., framed alike. $2000/3000 780. George Clare (English, 1830-1905), “A Robin’s Nest with Hawthorne Branches”, oil on canvas, signed lower left, 6 in. x 9 in., attractively framed. $1500/2500


Provenance: Estate of interior designer Winifred Lucas (19102001), active 1950-1970s, Baton Rouge, LA; thence by descent.

778. Valentine Cameron Prinsep (British, 18381904), “Portrait of a Blonde Boy”, oil on canvas laid down on board, signed lower right, two “Brown Heath, Texas” framer’s labels en verso of frame, 24 1/8 in. x 20 1/4 in., in a giltwood frame.

Note: A predominantly selftrained artist, Clare made a name for himself with his carefully structured, precisely detailed depictions of fruits, flowers, and birds’ nests. As evident in the fine example offered here, Clare paid meticulous attention to the textures, colors, and the interplay of light and shadows of the various elements - all of which seamlessly combine to create a vibrant still-life.

$2000/3000 Provenance: Descended in an Austin, Texas family. Note: Prinsep was born in Calcutta to a socially prominent literary and artistic family; his maternal aunt was the photographer Julia Margaret Cameron, and his first cousins once removed were Virginia Woolf and Vanessa Bell. He received his education in England where family friends included such luminaries as John Ruskin, William Gladstone, Charles Darwin, and Benjamin Disraeli. The artist George Frederick Watts lived with the Prinsep family for some time, and it is he who encouraged the young man to pursue a career in painting. Prinsep studied in Paris under Marc-Charles-Gabriel Gleyre (Swiss, 1806-1874); his fellow students included James Abbott McNeill Whistler and Edward Poynter. Upon his return to England, Prinsep befriended Dante Gabriel Rossetti and soon became associated with the then emerging Pre-Raphaelite Brotherhood. He assisted Rossetti and William Morris in the execution of the murals at the Oxford Union in 1857 and taught at the Working Men’s College under the direction of John Ruskin. He later traveled to Rome with Edward Coley Burne-Jones.

Clare exhibited regularly at the Royal Academy, Royal Society of British Artists, and the British Institution. Reference: Wood. The Dictionary of Victorian Artists, Antique Collector’s Club, 1995, Vol. I p. 100.


Prinsep eventually moved away from the stylistic credos espoused by the Brotherhood and, under the influence of his neighbor the Academic artist Frederic Leighton, adopted a more formal approach to painting. Known for his genre and history paintings, Prinsep also produced a small group of highly regarded portraits; his image of Ruskin is in the permanent collection of the Ashmoleon Museum. In those portraits, as in the example here, Prinsep strove to not only accurately recreate the features of the sitter, but also to create an atmosphere hinting at the feelings and emotions of the sitter. Prinsep exhibited regularly at the Royal Academy, where he was elected an Associate in 1878 and named a full Academician in 1894. Reference: Bénézit. Dictionnaire des Peintres, Librairie Grund, 1976, vol. VIII, p. 496. Obituary. Magazine of Art. Vol. VI, 1883. “Passing Notes”. Art Journal. 1905. pp. 33, 34.



781. French Historical Costume Prints, 19th c., chromolithographs, from Le Costume Historique, ed. by Auguste Racinet (French, 1825-1893), published by Firmin-Didot et Cie, Paris, 1888, the incomplete set including over 200 costume plates from various cultures and historical periods, one sheet of text, sheet size 8 3/4 in. x 7 3/4 in. and 8 3/4 in. x 15 1/4 in., all unframed (approx. 207 pages).

W 786. An Austrian Gilt

and Polychrome Porcelain Fish Service, late 19th c., consisting of an oblong serving platter, 10 plates and a sauce boat with integral undertray, green and peach fish in a variety of poses, marked “Victoria Carlsbad”, platter length 24 3/4 in., plate diameter 8 5/8 in. $300/500

781 (partial)

$800/1200 W 782. Gertrude Hermes

(British, 1901-1983), a collection of three wood-engraving prints on paper including “Remote Control”, “Peat Cutters”, and “Trees”, all pencil-signed, titled, numbered, and dated, sight 23 1/4 in. x 18 in., sight 17 1/4 in. x 23 1/4 in., and 23 3/4 in. x 17 7/8 in., respectively, first two framed, last unframed.

Lidded Tureen with Undertray, mid-19th c., acanthus finial, apple green and gilt border, tureen height 10 1/2 in., platter length 17 1/2 in.; together with a Paris porcelain circular sandwich plate of similar decor, diameter 9 1/8 in. $250/350 W 788. An Antique KPM

$800/1200 Provenance: Descended in the family of the artist.

W 787. A Paris Porcelain


Porcelain Portrait Plaque of a Victorian Lady, signed “L. Wirkner” lower right, KPM and scepter mark over “HI”, also inscribed “12 7/8 - 7 5/8”, plaque 12 3/4 in. x 7 3/4 in. $600/900

W 783. Attributed to Charles

Foot Taylor (English, fl. 1818-1853), “Portrait of Charlotte Would, Bath”, miniature watercolor on ivory, unsigned, sitter identified en verso, old handwritten inscription reading “6 dozen min. for C.F. Taylor Esq. Bath” en verso of liner, 4 3/4 in. x 3 1/4 in., in a fine period wood frame.

789. An Antique Louis XVStyle Carved Walnut Window Bench, 19th c., rectangular needlepoint seat, shell and leaf carved apron, cabriole legs with foliate scroll toes, height 19 in., width 41 1/4 in., depth 16 1/2 in. $400/600

$300/500 790. A Louis Philippe Mahogany Sécrétaire à Abattant, early 19th c., the black marble top above molded frieze drawer, the fall front lid with inset leather writing surface, interior with shaped niche and drawers, three drawers below, plain plinth, turned feet, figured veneers throughout, height 56 in., width 39 in., depth 17 in.

W 784. Continental School,

early 19th c., “Portrait of a Russian General”, miniature watercolor on ivory, illegibly signed lower right, inscribed “General Fessenboum” on backing paper, 3 in. x 2 1/4 in., framed. $200/400 W 785. French School, 19th c.,


“Portrait of Madame de Broise”, miniature watercolor on ivory, sitter identified en verso of frame, unsigned, 2 3/4 in. x 2 in., framed. $200/300 790

W denotes the lot is illustrated at


791. A Set of Six Antique Louis XV-Style Carved Giltwood and Caned Chaises, 19th c., floral carved crests, molded stiles, serpentine floral carved and molded seat rail, cabriole legs, attractive rubbed surface.

W 793. A French

Provincial Carved Walnut Bibliothèque, mid-18th c., arched cornice, two molded paneled doors with grillework enclosing shelves, height 102 1/4 in., width 71 1/2 in., depth 23 5/8 in. $1000/2000





792. An Antique Louis XV-Style BronzeMounted Rosewood, Kingwood Parquetry and Marquetry Dressing Table, mid-19th c., cartouche-shaped mirror on scrolled brackets, serpentine top with floral cartouche, garlands and scrolls, a pull-out slide and long drawer, cabriole legs ending in sabots, in “estate” condition, height 58 in., width 35 in., depth 19 in. $1500/2500 Provenance: Descended in the family of Marie Emeranthe Becnel Brou Hermann (1776-1851).


$2000/3000 795. A Louis XVI-Style Carved Mahogany Commode, 19th c., rectangular top over three long drawers, fluted pilasters, on square tapered legs, height 37 1/8 in., width 50 5/8 in., depth 22 5/8 in. $1500/2500


794. A Renaissance-Style Carved Walnut Table, in the Portuguese taste, the rectangular top with molded edge, heavily carved frieze with scrolled brackets and two drawers, foliate spiral-carved supports joined by stretchers, ball feet, height 35 3/4 in., width 83 3/4 in., depth 32 in.

796 (1 of a pair)

796. A Pair of Louis XVI-Style Gilded Mirrors, the arched crest adorned with extensive applied foliate decoration and swags, floral urn finials, the mirror plate flanked by Dryads, height 99 in., width 59 in. $8000/12000 797. A Monumental Continental Carved Oak and Bronze-Mounted Wall Clock, late 19th c., architectonic case, surmounted by pierced tower, the carved case mounted with relief plaques of putti, masks, and caryatids, centered by beveled mirror, height 82 in., width 27 in., depth 12 1/2 in.


W 799. Two Regency Mahogany

Armchairs and a Footstool, armchairs with tablet crest, carved medial slat, scrolled reeded arms; the Regency mahogany stool with square needlepoint top, turned legs, stool height 15 3/8 in., width 14 in., depth 14 in (3 pcs.) $400/600 W 800. A Regency Carved Mahogany

Armchair, early 19th c., tablet crest rail, pierced slat, reeded arms, turned tapered legs. $300/500

$8000/12000 W 801. A William IV Carved

798. A French Gilt Bronze Portico Clock, dated “1876” on movement, pediment with dentil border and floral swag, supported on columns with Corinthian capitals, height 20 1/2 in., width 10 1/4 in., depth 5 1/2 in. $800/1200

Mahogany Games Table, foldover top opening to circular green felt baize playing surface, tapered octagonal support, incurvate quatrefoil base ending in scrolled feet, height 28 1/2 in., width 35 3/8 in., depth 17 3/8 in.


$700/1000 W denotes the lot is illustrated at



804. An Edwardian Paint-Decorated Satinwood Dressing Table, late 19th c., demilune lift top opening to interior compartment above single deep drawer, square tapered legs ending in spade feet, finely painted portrait medallions, garlands and swags in the manner of Angelina Kauffman, height 30 in., width 24 in., depth 12 in.


802. An English Aesthetic Ebonized and Gilt-Decorated Writing Desk, late 19th c., stamped “Maple & Co., London & Paris”, spindled gallery above superstructure centered with a mirror and two drawers flanked by paint-decorated doors and small drawers, inset leather writing surface, frieze drawer, ring and spiral-turned legs, stretcher shelf, height 49 in., width 42 in., depth 22 1/2 in.

$1200/1800 805. A BiedermeierStyle Fruitwood Side Table, 19th c., oval top opening to a fitted interior, lyre-form pedestal, height 27 3/8 in., width 24 in., depth 15 7/8 in. $700/900



$2000/3000 803. A Regency-Style Chinoiserie Paint-Decorated Chest of Drawers, 19th c., and later elements, rectangular top, three drawers, faux bamboo stiles and moldings, beehive feet, height 36 3/8 in., width 51 1/4 in., depth 26 1/2 in.





806. An Antique French Provincial Wine Table, folding circular plank top above a square seat with square legs joined by stretchers, table height 25 3/4 in., diameter 47 in.

807. A Louis XVI-Style PaintDecorated Encoignure, superstructure with shelves above a pair of doors; the bowfront base with shaped paneled door, shelf interior, molded plinth, red ground of polychrome floral sprays, beribboned basket and court scenes throughout, height 82 3/8 in., width 27 in., depth 17 in.


$1200/1800 W 808. A Louis

XVI-Style BronzeMounted Mahogany and Parquetry Petite Commode, oval scagliola top with gallery, conforming case with two drawers, tall cabriole legs, height 31 1/4 in., width 13 1/4 in., depth 10 3/4 in.



$300/500 W 811. An American Aesthetic

809. An Austrian Carved Mahogany Clock Garniture, 19th c., of architectonic form, the clock with arched crest surmounted by floral and foliate wreath, breakfronted plinth base, the movement marked “L. Marti”, flanked by candlesticks of similar form, clock height 16 5/8 in., width 13 7/8 in., depth 4 5/8 in., candlestick heights 13 1/2 in.

Ebonized and Incised Collector’s Cabinet, late 19th c., spindle gallery, long drawer above a glazed door, two short drawers, molded base, height 66 in., width 28 1/2 in., depth 19 in.


812. An American Renaissance Carved Walnut and Ebonized Library Table, late 19th c., Philadelphia, molded top with inset writing surface, incised skirt with two drawers, cabriole legs topped by anthemia and cabochons, ending in paw feet, casters, height 28 1/2 in., width 43 1/2 in., depth 26 3/4 in.


810. An American Renaissance Ebonized, Gilt-Incised, Inlaid and Burled Walnut Folio Stand, late 19th c., the crest with faceted boss, canted stiles, two hinged folio holders with inlaid panels, splayed legs, height 38 in., width 22 1/2 in., depth 18 in.




W denotes the lot is illustrated at


813. A Gilt Bronze Guéridon in the Renaissance Taste, late 19th c., inset circular white marble top in egg and dart frame, fluted legs with griffin terms and X supports, marble stretcher shelf, elaborate ball and claw feet, iron support stamped “1312”, height 30 1/8 in., diameter 18 in. $1200/1800




814. A Good American Renaissance Carved and Burl Walnut Library Table, late 19th c., Philadelphia, the octagonal top with inset faux leather, the skirt with four drawers, the support composed of paired winged griffins ending in ball and claw feet, stamped in numerous places “1880”, height 28 1/2 in., diameter 41 1/2 in. $2500/3500


815. An American Aesthetic Carved Mahogany Recamier, late 19th c., Philadelphia, after a design by E.W. Godwin, padded crest rail with galleried support; bolster end with stylized sunflower terminal, blocked and reeded seat rail, “Roman” feet, height 27 1/4 in., length 72 in., depth 28 in. $800/1200 816. Six Antique English Carved Oak and Caned Side Chairs, probably 19th c., each with floral carved crest rail, ball finials, barley-twist uprights, trapezoidal seats, block legs joined by stretcher. $1500/2000


817. A Neoclassical-Style Inlaid Walnut Tea Table, oval galleried tray top with paterae, alternating lightwood and darkwood banding, brass handles, square tapered legs, height 28 in., width 32 in., depth 22 in. $600/900




818. A French Provincial Crème Peinte Commode, molded top over three long drawers, molded canted corners, shaped apron, scroll feet, height 38 in., width 55 in., depth 28 in. $1200/1800 819. A French Bronze-Mounted Figured and Inlaid Walnut Table de Jeu, 19th c., the serpentine foldover top opening to old circular green baize gaming surface, conforming scalloped apron, cabriole legs, height 29 1/2 in., width 36 1/2 in., depth 18 1/2 in.


$800/1200 822 820. A Louis Philippe Mahogany Commode, mid-19th c., the rectilinear white marble top with reeded edge above a frieze drawer, a pair of doors and plinth drawer on bracket feet, height 36 1/2 in., width 52 in., depth 23 1/2 in. $700/1000

822. Franciszek Starowieyski (Polish, 19302009), “The Stock of San Sebastian”, watercolor and gouache on paper, signed, dated “1.6.75” and titled lower right, sight 18 5/8 in. x 12 in., framed. $2000/3000


Provenance: Andre Zarre Gallery, 1975. 821. Dutch School, 19th c., “Vlaardingen-Delft”, oil on wood panel, signed “wapenaar” lower right, 15 5/8 in. x 19 3/4 in., in a giltwood frame. $800/1200

Note: Starowieyski studied art in Cracow and Vienna. Despite the prevailing Academic emphasis on realism, he opted for a more idiosyncratic, almost surrealistic style. He was a member of the Alliance Graphique International (AGI) and was one of the most popular and influential poster artists of his day. In 1986, he was the first Polish artist to have a one man show at the Museum of Modern Art, New York. Reference: Zbigniew Kresowaty. “Tribute to Polish Poster Designer Franciszek Starowieyski”.

W denotes the lot is illustrated at


823. Continental School, late 18th/early 19th c., a pair of “Genre Scenes of Peasant Couples”, each oil on canvas, unsigned, each 25 1/4 in. x 21 1/2 in., original carved wood oval frames. $2000/3000 823


825. A Pair of American Classical Brass Andirons and a Firetool Set, c. 1830, Boston, ball finials above heavy turned shafts, on slipper feet, firetools consist of a shovel and tongs, iron secondary parts, andiron height 16 3/4 in., length 18 in., width 10 1/2 in. 824


824. Manner of Sir Thomas Lawrence, R.A (English, 17691830), “Portrait of Mrs. Higginson”, oil on canvas, unsigned, 30 in. x 25 in., in an elaborate period carved, gessoed, and giltwood frame. $5000/7000 Exhibited: Phoenix Art Museum. Provenance: Probably F. Kleinberger, Paris; Parke-Bernet Galleries, New York, October 21, 1959 as lot 31; Parke-Bernet Galleries, New York, October 19, 1960 as lot 41; Private Collection, Scottsdale, AZ; Sotheby’s New York, April 24, 1995 as lot 151; Private Collection, Houston, TX. 826


826. An Antique Continental Ebonized and Marquetry Jardinière, brass gallery, floral inlay, the tripodal base with gilt bronze mounts, finials and swags, outswept feet, height 37 1/2 in., diameter 13 in. $400/600

W 827. A Pair of

Gilt Bronze Eagle Mounts, perched with spread wings, height 13 3/4 in., width 12 in., depth 5 in. $600/900 828. A Pair of Continental Carrara Marble Roundels, of deep relief, each inset in iron rings and depicting the head of a Grotesque, diameter 41 in. $1800/2500

828 (1 of 2)


829. A Pair French BronzeMounted Porcelain Vases, cobalt ground, with ram’s head handles and swags of fruit atop a wheat sheaf on shaped plinth, height 24 in., width 11 1/2 in., depth 11 in. 832

$2500/3500 830. A Continental Porcelain Plaque of Daphne, signed “Williams” lower right, bearing “KPM” mark, plaque 12 in. x 7 7/8 in., in an antique giltwood frame labeled “Winsor & Newton’s Artists’ Ma... Auckland, Pictures Framed...”.

W 831. A Pair of French Gilt and Polychrome

Porcelain Lidded Urns, central frieze of each with scenes of “Mars and Venus” and “Mercury Being Crowned by Fame”, reticulated lid with pineapple finial and ram’s head mounts, height 19 in., width 13 in., depth 8 1/4 in. $1000/1500 830

832. A Tiffany and Co. Sterling Silver Bowl in the Art Deco Taste, c. 1947-1956, height 3 1/2 in., diameter 9 1/4 in., weight 26.30 troy ozs. $750/1000 833. A Russian Silver Cigarette Case, Moscow, 84 zolotnik mark, 1908-1917, the embossed cover depicting a man and a horse plowing a field, oxidized exterior, gilt interior and applied green stone catch, marked, length 4 1/4 in., width 3 7/8 in., weight 5.45 troy ozs.




W denotes the lot is illustrated at



W 842. A Hand-Wrought

Silver Dish in the Spanish Colonial Taste, two-handled circular form with modified chased leafy scroll and flower head rim, ring drop handles, unmarked, height 1 7/8 in., width 9 3/4 in., weight 20.65 troy ozs.


834. A Georg Jensen Sterling Silver Grape Pattern Compote, height 7 1/2 in., diameter 7 1/4 in., weight 20.15 troy ozs. $1000/1500

$150/250 835. A Pair of Adam-Style Silverplate ThreeLight Candelabra, Ellis Barker, Birmingham, each in two sections and with removable bobêches, tapered shafts and candlecups, “French” gadrooned borders throughout, weighted rectangular bases, height 19 1/4 in., width 18 in.

W 843. A Group of Antique


$1000/1500 W 836. A Group of Modernist Sterling Silver

Flatware, including a caviar shovel and cheese scoop, Georg Jensen “Continental” pattern, introduced 1908; a sugar shovel, Georg Jensen “Acorn” pattern, introduced 1915; a sugar shovel, Georg Jensen “Pyramid” pattern, introduced 1927; 2 jam spoons, George Jensen, leaf and bead motif; 3 hand-hammered baby spoons, Allan Adler “Bunny” pattern; and a bottle opener, A. Michelsen, Copenhagen. $300/500 W 837. A Middle Eastern Silver Covered Box,

embossed flower head cover on lobed circular form, alternating chased decorative panels, height 3 3/4 in., diameter 4 1/2 in., weight 11.25 troy ozs. $150/250

W 839. An Antique Silverplate

Coffeepot, probably Continental, unmarked, lobed form on pedestal base, leaf and berry removable finial, flat chased panels and “C” scroll cartouches, one with script initials, height 10 1/2 in. $150/250 W 840. Five Continental Silver and

Silverplate Card Cases and Pill Boxes, card case, Germany, early 19th c., reeded case set with five small stones; Continental silver oval box with hinged cover, gilt interior; .925 pill box embossed grape clusters; card case with soldiers in relief; and a silverplate card case/compact. $150/250

W 838. A Continental Silver Oval Footed Bowl

and Master Salt, Germany, hand-wrought form with applied openwork scroll handles and raised on four cast scroll supports, bowl height 3 in., length 8 1/4 in.; the salt with gilt-washed liner on spool form stand, height 2 1/8 in.; together with a Christofle silverplate asparagus server, fiddlethread and shell handle, length 9 1/2 in., combined weight 14.20 troy ozs., (3 pcs.). $200/300


W 841. A Georg Jensen Sterling

Silver Cream Jug, Denmark, plain baluster form with modified spout, ivory handle with beading at juncture, height 3 3/4 in., weight 7.10 troy ozs. $200/300

and Vintage Sterling Silver Sugar Tongs, including William Eley & William Fearn, London, 1814, mark reg. 1797; TA, London, 1820; Reid & Sons, Newcastle, 1849-1850; and 2 in the form of miniature ice tongs, weight 4.70 troy ozs. (5 pcs.). $150/250 W 844. A Tiffany & Co.

Sterling Silver Bowl, c. 1923-1947, date pattern issued 1923, no. 20200, plain flared octagonal with molded rim, engraved script monogram in bowl center, height 2 1/2 in., diameter 9 in., weight 14.30 troy ozs. $400/600 845. A Pair of American Art Nouveau Sterling Silver Candlesticks, Alvin, Providence, RI, c. 1900, sinuous flower and vine motif, height 11 1/4 in. $400/600

W 846. A Tiffany Sterling Silver

W 852. A Mexican .900 Silver Bowl in

W 858. A Pair of Tiffany Silverplate

Footed Sauce Bowl and Sauce Ladle, tapered footed bowl, pattern issued 1923, c. 1923-47, no. 20175, height 3 1/8 in., diameter 5 1/2 in.; the ladle in the “Clinton” pattern, pat. 1912, length 6 1/2 in., both engraved “MA/P”, combined weight 10.50 troy ozs.

the Spanish Colonial Taste, marked Plata Taxco 900, with a deep well, height 2 1/8 in., diameter 9 7/8 in., weight 15.85 troy ozs.

Candlesticks, paneled baluster form on spreading foot, height 10 1/2 in.


W 853. A Group of Reed & Barton

W 847. Four Gorham Sterling Silver

“Corinthian Column” Candlesticks, c. 1907 date mark, fluted shafts, stepped square bases and beaded borders, (weighted), 1 damaged, 1 with associated bobêche, height 8 1/4 in.


$200/300 W 859. A Tiffany & Co. Sterling Silver

“Francis I” Pattern Sterling Silver Flatware, including 4 (fh) butter spreaders, 1 tablespoon, 1 cold meat fork, 1 sauce ladle, 1 oyster fork, 1 preserves spoon and 1 cake knife with serrated blade (associated), (10 pcs.), total weight (weighable) 13.55 troy ozs. $150/250


Octagonal Bowl, c. 1922-47, pattern issue no. 20088, paneled sides slightly flared at molded rim, monogrammed, height 3 in., diameter 4 5/8 in., weight 7.95 troy ozs. $300/500 W 860. A Tiffany & Co. Sterling Silver

Revere Bowl, after 1950, height 3 1/4 in., diameter 5 1/8 in., weight 6.20 troy ozs. $200/300

W 848. A Tiffany & Co.

W 861. A Tiffany & Co

Sterling Silver Bowl, c. 1907-47, pattern issue 1915, no. 18941, circular with flared sides and molded rim, engraved script initials on bottom center, height 2 1/4 in., diameter 7 1/8 in., weight 10.20 troy ozs.

Sterling Silver Revere Bowl, after 1950, pattern issue no. 23615, height 3 1/8 in., diameter 5 in., weight 6.40 troy ozs. $200/300 W 862. A Pairpoint Sil-



W 849. A Canadian

Sterling Silver Covered Bowl, Carl Poul Petersen (1895-1977, act. c. 19441975), Montreal, marked “Petersen Hand Made”, with pod handle and stylized border, diameter 5 1/2 in. $300/500 Note: Danish-born Petersen apprenticed with Georg Jensen, 1908-1913. After moving to Montreal in 1929, he worked as master smith at H. Birks & Son until 1932. He started his own firm in 1944. W 850. A Mexican Silverplate

Centerbowl in the Modernist Taste, two-handled oval form on conforming pedestal foot, scroll and bead handles, of Georg Jensen influence, height 4 1/2 in., length 20 in., width 9 in. $200/300 W 851. A Mexican Sterling Silver

Oval Tray and Bowl in the Spanish Colonial Taste, the tray marked “MACIEL” (Mexico City) and 925/1000; the hand-wrought bowl unmarked, tray 12 1/2 in. x 8 5/8 in., bowl diameter 8 3/4 in., combined weight 22.95 troy ozs. $150/250

W 854. A Decorative Silverplate

Figural Wine Trolley, openwork acanthus cast handle, the bottle coasters mounted with cherubs, acanthus borders and turned hardwood bases with engraved rampant lion buttons, adjustable wheel wagon, length 20 1/2 in. $500/750 W 855. A Continental Silver Blotter,

Germany, c. 1900, embossed genre scene, man with wheelbarrow, mother and child, on rectangular cover, rounded handle, height 3 in., width 4 3/4 in. $150/250

verplate Plateau, c. 1900, circular beveled mirror plate raised on five small supports, the frame with Classical leaf and berry running border, diameter 16 in.; together with an antique English silverplate wine coaster, flared rim having applied cast vintage border, height 2 3/8 in., diameter 8 in. $150/250 863. An Antique French Fused Silverplate Covered Vegetable Dish, 19th c., two-handled circular warming dish raised on four cast scroll supports, plain hot water dish below crested serving dish having shaped bound reed rim, the crested domed cover with a large cast pomegranate removable handle, height 9 3/4 in., width 12 in. $300/500

W 856. A Continental Silver Soup

Ladle, in the downcurved “Fiddle” pattern, marked “BRENNECKE”, period script monogram, length 12 3/4 in., weight 6.05 troy ozs.; together with an antique silverplate fish slice, Rogers & Bro., length 11 3/4 in.

W 864. A Continental Silver Aspara-

gus Tong, Netherlands, openwork figural and scroll handles, windmill vignettes on blades, length 9 1/2 in., weight 6.40 troy ozs. Note: 2 repairs, 1 silver, 1 other. $150/250

$200/400 W 865. English or American School, W 857. A Georgian Inlaid Mahogany

Tea Caddy, of elongated octagonal form, now with velvet lined interior, height 4 7/8 in., width 5 in., depth 4 in. $300/500

19th c. “Portrait of a Woman with Pearls”, miniature watercolor on ivory, dated 1805 lower right, woven hair and monogram of seed pearls en verso of liner, 3 in. x 2 1/4 in., framed. $200/300

W denotes the lot is illustrated at


W 870. Henry Moore

(British, 1898-1986), “Figures and Trees “ lithograph on “Pur Fil” paper, unsigned, pencil-numbered “125/183” and inscribed “110-213-6 CA”, with a typed label en verso, 15 in. x 11 1/8 in., matted and framed accompanied by a “Orleans Gallery, N.O.” Henry Moore Exhibition catalogue dated “July 10-August 1, 1965”. $700/900 Provenance: Acquired in 1961. W 871. Gertrude Hermes



(British, 1901-1983), A collection of four woodengravings on paper including “Bullfight I”, and “Stonehenge”, both pencil signed, titled, numbered and dated, “Stonehenge”, and “The Tree”, 15 1/2 in. x 20 3/4 in., 16 3/8 in. x 22 in., 17 in. x 21 in., and 3/4 in. x 19 7/8 in., all unframed together with The Wood-Engravings of Gertrude Hermes Russell, Judith, Ashgate Publishing Company, Brookfield, Vermont, 1993(5 pieces). $700/900

W 866. Otto Merkel (American/Pennsylvania,

late 19th/early 20th c.)., “Woman with Décolletage”, miniature watercolor on ivory, signed lower right, 3 1/2 in. x 2 5/8 in., in a gilt brass frame.

Provenance: Descended in the family of the artist.


W 872. Adrian Wong Shue

867. A Pair of Rock Crystal Obelisks, each of typical form, presented on specimen marble plinth depicting birds on a floral background, each height 23 in. and 22 1/2 in., width 4 1/2 in., depth 4 1/2 in.




868. Salvador Dali (Spanish, 1904-1989) “Grasshopper Child “ etching on paper, pencil signed and numbered “2/100”, 22 5/8 in. x 19 1/2 in., matted and framed. $800/1200 869. Raoul Dufy (French, 1877-1953), “Essai Couleur “ color lithograph on paper, pencil-signed and titled, dated “14 Julliet” en verso, 26 3/8 in. x 19 5/8 in., matted and framed. $800/1200


(Jamaican/American, b. 1952), “Woman and a Dove”, serigraph on paper, signed and numbered “189/300”, sight 21 1/4 in. x 27 1/4 in., matted and framed.


873. A French Poster For the Exposition Universelle, Paris 1900, color lithograph, advertising the “Theatre Egyptien de l’Exposition”, inscribed “Imp F. Champenois.66. B St. Michel...Paris” lower right, sight 34 1/2 in. x 60 1/4 in., framed. $1200/1800

875. An Antique French Advertising Poster for “Eau de Suez”, color lithograph, inscribed “Imp Th. Dupuy & Fils -Paris” at lower left edge, inscribed “R. de la Neziecz” lower right. $1200/1800





876. Salvador Gonzales-Escalona (Cuban, b. 1948), “Portrait of a Woman”, glass tile mosaic, signed lower right, overall dim. 21 3/4 in. x 17 3/4 in., float mounted. $700/900 877. Salvador Gonzales-Escalona (Cuban, b. 1948), “Blue Figure”, glass tile mosaic, signed lower right, overall dim. 21 3/4 in. x 17 3/4 in., float mounted. $700/900 W 878. A Charles and Ray Eames LCM Chair for Herman Miller, mid-20th c.,

American, molded walnut back and seat, support and splayed legs of stainless steel. 880

874. A French Poster of “Eugenie Fougere”, color lithograph, after Adrien Barrere (French, 1877-1931), inscribed “Imp Ch. Wall & Cie, Rue Lafayette, Paris”, sight 54 3/4 in. x 37 in., framed. $1500/2500

$300/500 W 879. David Sinclair Nixon (American/New Orleans, 1904-1967),

“Cityscape”, mixed media on board, signed and dated “61” lower right, with a sketch of a woman en verso, 8 in. x 9 3/4 in., unframed. $400/600 880. George C. Ault (American/New York, 1891-1948), “Six Trees: Winter Forest”, graphite on paper, signed and dated “’24” lower right, pencil-titled, and with a Zabriskie Gallery, New York” label en verso, 13 7/8 in. x 9 7/8 in., matted and framed. $2000/3000

W denotes the lot is illustrated at


W 883. Yngve

Edward Soderberg (American/ Connecticut 1896-1971), “Under the Bridge, on the Canal”, watercolor on paper, signed lower left, with an “American Swedish Historical Foundation” Philadelphia, PA label affixed to backing board, identifying the work as “Lent by the Shipley School/ Bryn Mawr, Penna”, 17 7/7 in. x 21 1/2 in., in a period frame.





884. Manuel Barra Felguerez (Mexican, b. 1928), “The Archer”, polychromed clay, carved and incised detailing, signed and numbered 49/100 at edge of left thigh, on rectangular base, height 17 1/2 in., width 11 1/4 in., depth 17 in.


881. George Henry Clements (American/ Louisiana, 1854-1935), “Tropical Landscape with Sailfish and Tarpon”, watercolor on paper, pencil-signed lower right, inscribed in part “Watercolor/ by/ G.H. Clements. New Orleans, La”, and with a “Arthur H. Harlow & Co., Inc., New York” label on the original backing board, 15 5/8 in. x 11 1/4 in.

$600/900 Provenance: Galeria y Objetos de Arte, Mexico

$2000/3000 882. Andrew Sanders (American/Florida, b. 1918), “Point O’Rocks, Sarasota, Florida”, watercolor and vine charcoal on paper, signed lower right, with a typewritten label dated “1950” and inscribed “To May 1975, Andrew” en verso, sight 10 3/8 in. x 14 1/2 in., matted and framed. $600/900


Note: It is probable that the exhibition label located on the current lot is from the January-February 1954 exhibition held at the American Swedish Historical Museum in Philadelphia, PA. The Chronicle, vol. 1, No. 1, published Spring 1954 by The American Swedish Historical Foundation states: “Yngve Soderberg: Chicago-born Swedish American artist from Mystic, Connecticut, had a one-man show of about one hundred water colors and etchings at the museum in January-February this year”.


885. John Geldersma (American/New Orleans, b. 1943), “Untitled”, c. 1988, painted wood sculpture, signed on reverse, height 18 in., width 38 in., depth 2 in. $1500/2500

886. John Geldersma (American/New Orleans, b. 1943), “Sunmarker”, 1993, wood sculpture, signed under freestanding base, height 24 in., width 14 1/2 in., depth 7 1/2 in. $1500/2500

887. A French Art Deco Bronze of Dawn, 20th c., after Joseph Emmanuel Descomps-Cormier (French 1869-1950), cast signature at back of base, foundry mark at edge of base, height 20 3/4 in., width 20 1/4 in., depth 8 1/4 in. $1500/2500 888. A Fine German Bronze of a Nymph Awakening, 19th c., illegible cast signature, inscribed “AKTGES vorm H. GLADENBECH u sohn/BERLINFRIEDRICHSHAGEN” at back of base, height 23 in., width 7 in.


$1500/2500 889. An Antique Bronze of a Young Bacchante, the figure depicted sipping from a kylix, a bunch of grapes in one hand, height 32 1/2 in., width 12 in., depth 10 1/2 in.


$2500/3500 890. An American Bronze of “The Swing”, 1916, after Geneva Mercer (American/Alabama, 1889-1984), cast signature and date at base, inscribed “Roman Bronze Works, N.Y.” at edge of base, height 16 1/4 in., width 8 in., depth 7 in. $1000/1500 Note: A precocious artistic talent, Mercer was awarded a scholarship to the Livingston Female Academy (now the University of West Alabama) at the age of 15. At a 1907 exhibition in Birmingham, Mercer’s work caught the eye of the Italian sculptor Giuseppe Moretti (1859-1935), who was then working in Alabama. Moretti offered the young girl an apprenticeship in his studio, where she remained until his death. Mercer eventually began to work with the sculptor on large-scale commissions, including the Patrick O’Reilly and Mary Cahalan statues in Birmingham, and the sculptures for the façade of the Centro Gallego Club in Havana, Cuba. Though much of Mercer’s work is enmeshed with that of her teacher, on her own she produced numerous Classically inspired works including the Flimp Fountain at the Montgomery Museum of Art and the Julia Tutwiler Memorial. Reference: Jordan. “Moretti’s Assistant: Alabama’s Own Geneva Mercer.” Birmingham Weekly. March 24, 2005



W 891. A French Bronze Sculptural

Group of Two Geese, early-to-mid 20th c., after Charles Reussner (French, 18861961), cast signature “Reussner” beneath each tail feather, height 5 in., width 7 1/4 in., depth 6 in. $200/300

W 892. A French Bronze Sculptural

Group of Two Fish, early-to-mid 20th c., after Charles Reussner (French, 1886-1961), cast signature “Reussner” at back fin of each fish, set upon a natural granite base, height 4 3/4 in., width 5 in., depth 5 1/4 in. $200/400

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893. A Belgian Silvered Bronze of a Reclining Nude, early 20th c., after Victor Rousseau (Belgian, 1865-1954), cast signature and foundry mark “Fonderie Natle des Bronze, J. Petermann St. Gille Bruxelles” at back of base, height 8 1/4 in., width 10 1/4 in., depth 3 1/2 in., on a marble base.


$1500/2500 Provenance: Sotheby’s New York, July 16, 1998, as lot 482. W 894. A

Contemporary Polished Steel Console, rectangular marble top, turned supports, “X” frame, cross stretchers, height 30 1/2 in., width 44 in., depth 18 in. $500/750 895. Myron Lechay (American/New Orleans, 18981972), “Table Top Still Life”, oil on canvas, signed and dated “1931” lower right, 39 1/8 in. x 35 1/4 in., in a period frame.


$3500/4500 896. James Augustus McLean (American, 1904-1989), “Wash Day”, oil on canvas, signed lower right, with a “23rd Southeastern Annual Exhibition The High Museum of Art, Atlanta” and “The Charleston Renaissance Gallery, Charleston, SC” labels en verso, 40 1/2 in. x 50 1/4 in., in a giltwood frame. $30000/50000




897. Peter Halley (American/New York, b. 1953, active New Orleans 1978-1980), “Study: Man, Star, Tree”, c. 1980, felt-tip pen, colored pencil and acrylic paint on paper, unsigned, 26 7/8 in. x 30 in., unframed. $10000/15000 Provenance: Gift of the artist, Lafayette, Louisiana, 1980, to present owner. Note: After attending graduate school at the University of New Orleans, Peter Halley lived in Louisiana for two years before departing for New York City. His first show in New York was 1985 at International with Monument, subsequent shows at the Mary Boone Gallery, Sonnabend Gallery and Waddington Galleries. The artist is currently the director of Graduate Studies in Painting and Printmaking at Yale University and his works are in many public and private collections including the Guggenheim and MoMA.


898. Elemore Madison Morgan, Jr. (American/Louisiana, 1931-2008), “Fence and Pasture”, 1972, felt-tip pen and oil pastel on paper, pencil monogrammed and dated “EMM-’72” lower right, inscription from original backing “June 18-’73 For Herman with best wishes-Elemore” affixed en verso, sight 17 1/8 in. x 21 7/8 in., matted and framed. $2500/3500 899. Elemore Madison Morgan, Jr. (American/Louisiana, 1931-2008), “Blue Oak”, c. 1972, felt-tip pen and oil pastel on paper, unsigned, sight 17 1/8 in. x 21 7/8 in., matted and framed. $2500/3500 Note: Distinguished as one of Louisiana’s leading landscape painters, Elemore Morgan Jr. was born in Baton Rouge. His father was a photographer, and an early artistic influence on the painter. He received his fine arts degree from Louisiana State University, and attended Oxford’s Ruskin School of Fine Art.


The offered lot represents one of the South’s most recognizable images, the distinctive live oak, and represents one of the many scenes Morgan painted of rice-farms in Vermilion Parish.

900. Knute Heldner (Swedish/New Orleans, 1877-1952), “Minnesota Mountains”, oil on canvas laid down on board, signed en verso, 6 3/4 in. x 9 7/8 in., in an attractive period giltwood frame. $1000/1500 W denotes the lot is illustrated at



901. Marie Atkinson Hull (American/Mississippi, 1890-1980), “Gloxinias”, oil on canvasboard, signed lower right, pencil-signed, titled, and inscribed “Jackson, Miss”, with a note reading “Purchased January 8, 1972, from the artist at her home. She dated the painting ten or fifteen years earlier”, and with “Brown’s / Jackson, Mississippi” backing paper en verso, 19 7/8 in. x 23 7/8 in., framed. $2500/3500 Provenance: Acquired from the artist in 1972; descended in the family of the purchaser, Mississippi. 903

902. George Rodrigue (American/Louisiana, b. 1941), “Lost in the Painted Desert”, acrylic on canvas, signed lower right, titled en verso, 20 in. x 24 in., attractively framed. $15000/25000 903. George Rodrigue (American/Louisiana, b. 19441), “Grow Up”, acrylic on canvas, signed lower left, signed, titled, and dated “2001” en verso, 20 in. x 15 7/8 in., attractively framed. $12000/18000



904. Marshall D. Smith (American, 1874-1973) “French Quarter Courtyard”, oil on canvas, signed lower right, signed and titled en verso, 24 1/8 in. x 36 1/4 in., in a giltwood frame. $2500/3500 905. Alberta Kinsey (American/New Orleans, 18751952), “Little Theatre”, oil on canvas, signed lower left, 20 1/8 in. x 16 3/8 in., in a period frame.



$1500/2500 906. Mildred Nungester Wolfe (American/ Mississippi, 1912-2009), “Winter Song”, oil on masonite, signed lower left, with a “Nunnery’s Gallery, Jackson, MS” label en verso, sight 24 1/8 in. x 29 1/2 in., attractively framed.


$2000/3000 907. Wayman E. Adams (American/New Orleans, 18831959), “Portrait of Ms. Margaret Robinson”, oil on canvas, signed upper left, 38 1/8 in. x 32 in., in a giltwood frame.

908. Wayman E. Adams (American/New Orleans, 1883-1959), “Portrait of a Clergyman”, oil on canvas, unsigned, stamped E.H. & A.C. Fiedrichs Co., New York on the stretcher bar, 27 in. x 19 in., in a giltwood frame.




907 W denotes the lot is illustrated at


909. Jack R. Meyers (American/New Orleans, 1930-1994), “The Steamboat Natchez in the Distance”, acrylic on canvas, signed and dated “1987” lower right, 16 in. x 20 in., framed. $6000/9000 910. John McCrady (American/Mississippi/New Orleans, 1911-1968), “Study for The Holly Springs Road”, charcoal and graphite on paper, initialed center right, 17 5/8 in. x 24 in., matted and framed. $2000/4000 Provenance: Downtown Gallery New Orleans. Note: John McCrady painted “The Holly Springs Road” c. 1967; it was one of the last works he created prior to his death the following year. The composition depicts a young boy standing by a fence post, with a moody moonlit sky above a cabin, car and tree. The drawing offered here is a study for this painting, and shows the left side of the composition with the car, cabin and tree line. 909

911. Edward Russell Whiteman (American/ Louisiana, 1905-1985), “Ancient Stones #20”, 1974, mixed media on reconstructed paper, initialed and dated lower right, 44 in. x 36 in. $1800/2500 912. Stanley Clisby Arthur, (American/New Orleans, 1880-1963) After John James Audubon (American, 1785-1851), “Wild Turkey”, mixed media on board, signed, dated “1934” and inscribed “N.O., La” lower right, 40 in. x 28 in., framed. $800/1200 Note: Stanley Clisby Arthur’s WWI Draft Card lists him as an ornithologist for the State of Louisiana 913. James Wells Champney (American, 1843-1903), “Madame Adelaide as Diana, Goddess of the Hunt”, pastel on canvas, after the 1745 painting by Jean Marc Nattier (French, 16851766), now at Versailles, signed and inscribed “After Nattier” lower right, 23 5/8 in. x 28 7/8 in., in a later giltwood frame.

910 912


911 913



914. Adolph D. Rinck (French/New Orleans, 1810-1871, active New Orleans 1840-1871), “Cattle Along the Shore”, 1845, oil on canvas, signed and dated “1845” lower left, 18 in. x 37 in., in a period frame. $18000/24000 Note: Adolph Rinck was a prolific portrait painter in New Orleans beginning in 1840. In addition to his art career, Rinck also had a strong interest in agriculture and wrote a pamphlet about his ideas on the model farm. He bought a farm in Algiers where, by 1859, he practiced scientific agriculture. The painting offered here is a landscape depicting a herd of cattle at rest along the river bank. Palmetto bushes frame the composition in the foreground while a distant tree line shows the curve of the Mississippi River. This rare Louisiana landscape by Rinck shows his affinity for livestock as they are serenely depicted in a moment of tranquility. 915. Joseph Giuseppe Fagnani (American/New York, 18191873), “Portrait of John William Draper (1811-1882)”, oil on canvas, illegibly inscribed within a banner lower-middle right, 44 1/4 in. x 34 in., in an elaborate gilt wood frame. $4000/6000 Provenance: The New York Public Library, Astor, Lenox and Tilden Foundations. Note: Born in Naples, Joseph (Giuseppe) Fagnani worked in Italy, France, and Spain before immigrating to the United States in 1849. Fagnani established himself as a portrait painter in Washington, D.C. where he painted such luminaries as Henry Clay, Daniel Webster, Samuel F.B. Morse, and President Fillmore. English born, John William Draper (1811-1882) is considered an American of great significance for his many interdisciplinary contributions to the fields of science, philosophy, history and photography. In the portrait offered here, Draper is presented in his role as historian. Draper is surrounded by several of his literary accomplishments. He authored The History of the Intellectual Development of Europe (1862), shown in this portrait; a three volume History of the American Civil War (1867-1870), two spines of which are seen on the writing desk; and a History of the Conflict between Religion and Science (1874). Reference: Peter Hastings Falk (editor), Who Was Who in American Art.


W 916. American School, 19th c., “Art Supplement to

Appleton’s Journal: The Levee At New Orleans”, lithograph, by A.R. Waud and John Karst, 10 in. x 28 in., in a crème peinte frame. $200/300

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W 917. Morris

920. An American Classical Carved Mahogany Four Post Bed, c. 1825, attributed to Anthony Quervelle, Philadelphia, having acanthus carved and turned posts, the paneled headboard with scrolled rosette brackets centered by a fruit filled urn, molded rails, raised on turned tapered legs, flat tester, height 89 in., length 77 1/4 in., interior width 56 7/8 in.

Henry Hobbs (American/New Orleans, 18621967), “Old New Orleans”, etching on paper, pencilsigned, titled, and dated “1948”, 8 in. x 6 in., matted. $300/500 918. Ambrose Duval (French, b. 1760, active New Orleans 1803-1835), “Portrait of a Young Man in Formal Dress”, c. 1815, watercolor miniature on ivory, signed lower right, with a separate watercolor miniature on ivory of a floral still life between portrait and frame, 3 in. x 2 1/4 in., in a period gilt brass frame.

$4000/6000 918


$700/900 Note: The French born Duval was one of the most talented and successful miniaturists working and teaching in New Orleans in the early 19th century; his portrait of William Claiborne, the first Governor of Louisiana is considered a masterpiece of miniature portraiture. Duval also considered himself a naturalist and had an extensive collection of preserved birds, which he loaned to John James Audubon. Watercolors of several of these specimens were included in Audubon’s famous Birds of America. Reference: Mahé. Encyclopedia of New Orleans Artists. Historic New Orleans Collection. pp. 221, 222.


919. An American Gothic Carved Mahogany Side Chair, c. 1830, arched back with Moorish arch and quatrefoil reticulation, turned stiles, trapezoid seat, beaded rail, turned legs, casters. $400/600


921. An American Late Classical Mahogany Secretary Bookcase, mid-19th c., the ogee molded cornice above mirrored doors, Gothic molded stiles, drawers below, lower case with fitted escritoire drawer, “S” scrolled legs, height 85 in., width 41 1/2 in., depth 23 1/2 in. $1500/2000




922. An American Rococo Carved Rosewood Sofa, mid-19th c., attributed to John Henry Belter, New York, in the pattern referred to as “Rosalie with Grapes”, the back with serpentine crest rail carved with fruit, nut and grape clusters, shaped molded arms, serpentine floral and leaf carved seat rail, rose carved cabriole legs, casters, height 37 in., width 62 in., depth 23 in. $3000/5000 Note: Sold for the benefit of the Columbus Museum, GA. Reference: See Schwartz, Stanek and True, The Furniture of John Henry Belter and the Rococo Revival, Dutton, 1981, p. 60

923. An American Late Classical Carved Mahogany Mixing Cabinet, c. 1825, Philadelphia, paneled frieze drawer, scrolled volute ends, single door enclosing a shelf, ogee plinth, bracket feet, height 34 3/8 in., width 36 1/2 in., depth 17 3/8 in. $800/1200



924. An American Classical Carved Mahogany Games Table, early 19th c., Baltimore, the foldover top with reeded edge, conforming frieze, on tapered and reeded legs, height 29 1/2 in., width 36 3/4 in., depth 17 3/4 in. $1200/1800 925. A Diminutive American Classical Cherrywood Valuables Chest, early 19th c., Kentucky, the rectangular top with molded edge opening to divided interior, turned legs, height 15 1/4 in., width 19 7/8 in., depth 11 in. $1200/1800


926. An American Classical Mahogany Pier Table, early 19th c., original white marble top, cove molded frieze, scroll supports, mirrored back flanked by pilasters, shaped plinth, boldly turned legs, height 38 1/2 in., width 44 1/2 in., depth 18 1/2 in. $1000/1500

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929. An American Rococo Carved Mahogany Four Post Bed, mid19th c., stamped “C. Lee” and “1878”, tapered, fluted posts, arched C and S scroll headboard with fruit and foliate carved appliqué, conforming rails centered by a shell, shaped low footboard, height 103 in., interior length 78 1/2 in., interior width 60 in. $4000/6000 Note: Beds stamped “C. Lee” appear in the inventories of New Orleans furniture purveyors Calvin Chandler Simpson, John Yetter, and William McCracken in the years leading to the Civil War. Research by scholar and curator Stephen Harrison has revealed Charles Lee (active 1856-1868) was a Manchester, Massachusetts, craftsman known as a “maker of bedsteads for the Southern market.”


927. A Large American Renaissance Carved Walnut Bookcase, 19th c., having a pediment crest with large boss above a pair of arched glazed doors, adjustable shelves, molded base with a pair of drawers, height 104 1/2 in., width 60 1/2 in., depth 22 in. $1500/2000 928. A Fine American Classical Mahogany Serving Table, c. 1825, New York, rectangular top with canted corners, conforming case with two short and one long drawer, scroll supports, stretcher shelf with scalloped apron, outswept legs with drum terminals, brass cuffs, casters, height 32 1/2 in., width 36 in., depth 19 in. $1500/2000



Reference: Harrison, “’C. Lee’ Maker of Beds for the Southern Market”, Maine Antiques Digest, April 1994.

930. An American Rococo Carved Mahogany Armoire, mid-19th c., arched molded cornice with foliate scrolled crest, two paneled doors surrounding mirrored central cabinet above graduated drawers, height 97 in., width 79 1/2 in., depth 20 1/2 in. $1500/2500

931. Harold Rudolph (American/New Orleans, 18501884), “Portrait of a Boy with a Blue Tie”, oil on canvas, signed and dated “1874” center left, 24 in. x 20 in. (oval), in an antique giltwood frame.


$3000/5000 932. Robert Wadsworth Grafton (American/New Orleans, 18761936), “The Twelve Hours Mediating Between the Active and Contemplative Life”, oil on canvas, signed and dated “1927” lower right, 23 in. x 64 5/8 in., in a giltwood frame.

934. Eliot Candee Clark (American/ Virginia, 1883-1980), “Beach at Nags Head”, oil on canvas, signed lower right, with a Gallery C, Raleigh, NC label en verso, 32 in. x 24 in., framed.



$3000/5000 Note: This painting -interesting for both its style and format -- is loosely based on late 19th century idylls of similar (but usually less populated) subjects by Sir Lawrence AlmaTadema (1836-1912) and others. Its studied contrast between the diaphanous classical draperies of the dancing maidens and the Renaissanceperiod garb of the two gentlemen (together with their characteristic expressions) suggests a classical allegory of the sort alluded to in the title above.


933. Lucy May Stanton (Georgia/New Orleans, 1875-1931), “A Girl Reading”, watercolor and graphite on paper, sight 14 3/8 in. x 21 in., matted and framed. $1000/1500 Provenance: Descended in the family of the artist; to private collector, New Orleans. Note: Although Lucy Stanton is generally known for her portraits and landscapes in miniature, this full-size portrait of a young woman reading a book employs her traditional technique, called “puddling”. This method of painting in watercolor, which Stanton created, involves very wet application of color to the paper, which can be seen in the shirt and background of this painting in particular, causing the colors to run together in an impressionistic manner.


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935. George Frederick Castleden (American/New Orleans, 1861-1945), “Courtyard on St. Peter Street, French Quarter”, oil on canvas, signed lower right, with a typewritten label reading: “Passing up St. Peter Street in the 700 block, the open archway gates invite the visitor to enter. Its fan light window and tile roof give it an oldtime harmony and restfulness now so hard to find” en verso, 15 in. x 12 in., in a period frame.

936. Louis Oscar Griffith (American/Louisiana, 1875-1956), “Sunbathing”, color aquatint on paper, pencil-signed, titled and numbered “No. 6”, sight 12 1/2 in. x 16 1/4 in., attractively matted and framed. $1800/2500 937. Louis Oscar Griffith (American/Louisiana, 1875-1956), “Banana Toters, N.O.”, color aquatint on paper, pencil-signed, titled and numbered “No. 2”, sight 12 1/2 in. x 10 1/8 in., attractively matted and framed. $1200/1800 938. Walter Inglis Anderson (American/ Mississippi, 1903-1965), “Wind, Wave and Fish”, hand-colored linocut on wallpaper, pencil-inscribed en verso, 29 1/8 in. x 21 in., unframed. $6000/9000 Provenance: Purchased from the Anderson family, c. 1963-64.

$3000/5000 937


W 939. Walter

Inglis Anderson (American/Mississippi, 19031965), “Fish”, hand-colored linocut on paper laid down on board, unsigned, with “The Artist Ship/Midway Between Gulfport & Biloxi” label en verso, 11 in. x 20 7/8 in., framed $400/600 Provenance: Purchased from the Anderson family, c. 1963-64.



940. Louis Oscar Griffith (American/New Orleans, 18751956), “A Busy Day in the French Quarter, New Orleans”, colored aquatint on paper, pencil-signed and dated “’34”, sheet size 14 7/8 in. x 16 3/4 in., image size 10 in. x 12 in. $800/1200 941. Clark Hulings (American, b. 1922), “Benton’s Row”, oil on illustration board, signed middle-left, 941 titled, signed and dated “Feb-1956” en verso, 21 1/2 in. x 20 7/8 in., in a period frame; accompanied by a copy of the paperback book Benton’s Row by Frank Yerby, with this image on the cover. $5000/7000 Note: Clark Hulings spent much of his childhood in Spain and Louisiana, and continued to draw upon those experiences throughout his career. Primarily a realist painter who was trained in New York at the Art Students League, Huling also spent fifteen years as an illustrator. The present lot demonstrates the combination of Hulings’ illustrative abilities and his Louisiana background, which, combined, create the effect needed for the cover of the book Benton’s Row: Lust, Violence, and Tragedy in the Louisiana Bayous. 942. George F. Castleden (British/New Orleans, 1861-1945), “The Log Cabin”, oil on canvas, signed and dated “36” lower left, titled en verso, 18 in. x 22 in., in a period giltwood frame. $2000/3000 Provenance: D.H. Holmes Department Store (1849-1989), Canal Street, New Orleans.


943. John McCrady (American/ Mississippi, 1911-1968), “Portrait of Catherine Eskridge Eatman (1913-1984)”, oil on canvas, signed and dated “1932” lower right, inscribed “Eatman” on stretcher bar en verso, 35 1/8 in. x 24 1/8 in., unframed. $1500/2500 Provenance: Descended in the family of the sitter. Note: Catherine Eskridge Eatman became acquainted with John McCrady after his family moved to Oxford, Mississippi, in 1928; together they attended art classes held by a local teacher. McCrady painted Eatman’s portrait in 1932, the year he left the University of Mississippi to move to New Orleans where he enrolled in the New Orleans Art School. This early McCrady reveals elements of what would become his signature style Catherine Eatman attended John McCrady’s art school in New Orleans while her husband was fighting in WW II, and maintained a life-long friendship with McCrady and his wife. From 1965 to 1974, Eatman was the Director of the Mary Buie Museum in Oxford, which later became part of the University Museum in 1976. In 1966, during her tenure, the museum held an exhibition of McCrady’s late work.

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945. An American Rococo Carved Giltwood Overmantel Mirror, mid-19th c., the pierced crest with scrolling acanthus and floral swags, the sides with entwined leaves and garlands, conforming molded base, height 68 7/8 in., width 63 1/2 in. $1000/1500



946. An American Late Classical Bronze-Mounted Mahogany Cheval Mirror, mid-19th c., pedimented crest, columnar supports, rectangular mirror plate, trestle base joined by stretcher, arched legs ending in casters, height 72 7/8 in., width 37 1/2 in., depth 20 7/8 in. $1200/1800


947. An American Rococo Carved Rosewood Center Table, mid-19th c., serpentine white marble top, the apron with exuberantly carved masques and foliate scrolls, fruit and nut carved S scroll supports, tapered incised stem with egg and dart surround, conforming legs, casters, height 30 1/2 in., width 44 1/2 in., depth 33 in. $4000/6000 948. A Pair of American Rococo Carved and Laminated Rosewood Side Chairs, mid-19th c., attributed to John Henry Belter, shaped backs with flower, fruit and nut crests, serpentine seat rail, cabriole legs, casters.


944. Charles Dana Gibson (American, 1867-1944), “Making Plans”, felt-tip pen on board, signed lower left, titled and with Life Publishing Company stamp en verso, 20 in. x 14 3/4 in., matted and framed.


$1500/2500 948


949. A Pair of American Rococo Carved and Laminated Rosewood Side Chairs, mid-19th c., attributed to John Henry Belter, New York, reticulated oval padded backs, floral crests, floralcarved serpentine rails, cabriole legs, scrolled toes, casters. $1500/2500 950. An American Rococo Carved Rosewood Parlor Table, mid-19th c., possibly from purveyor Wm. McCracken, New Orleans, serpentine white marble top with pendant drops, melon support, height 30 in., width 50 3/4 in., depth 24 3/8 in. $2000/3000




951. An American Renaissance Carved Walnut and Burled Elm Side Cabinet, late 19th c., possibly Allen and Bro., Philadelphia, inset marble top, incurvate sides, frieze drawer above a paneled door with shield and laurel garland medallion, bracketed corners, molded base, height 43 1/2 in., width 45 1/2 in., depth 22 in.


$1200/1800 952. An American Rococo Carved and Laminated Rosewood Side Chair, mid-19th c., attributed to J. & J.W. Meeks, New York, in the pattern referred to as “Hawkins”; finely carved, attractive finish. $2500/3500 953. An American Classical Mahogany Footstool, early 19th c., probably Baltimore, serpentine ripple molded frame, rounded corners, turned legs, height 16 in., width 24 in., depth 17 1/2 in. $300/500 W 954. An American Gothic Mahogany Center Table, c.

1840, the segmented dodecahedronal top with narrow ripple molded skirt, circular bracketed stem, arched shaped legs, casters, height 29 1/2 in., diameter 36 in. $400/600 951 W denotes the lot is illustrated at


957. An Interesting American Aesthetic Carved and Ebonized Music Cabinet, late 19th c., crest with central handle, carved slant lids over two shelves and carved skirt connected by turned and blocked uprights, the whole with musical trophies, roundels and leaf carving, height 42 1/2 in., width 24 in., depth 16 in. Note: Hinges broken. $800/1200


958. An American Renaissance Carved Walnut Extension Dining Table, late 19th c., circular top, frieze with applied rosettes, octagonal pedestal with bracket supports carved with lion heads, scrolls, paw feet, casters, with four leaves, height 29 in., length 48 in., width 48 in. 956

955. An American Rococo Carved Oak Jardiniere Stand, 19th c., relief carved sides with fruit and floral accents, shaped apron on turned legs, height 16 1/4 in., width 19 1/4 in., depth 19 in. $500/750 956. An American Rococo Carved Rosewood Desk, mid-19th c., the case with bead molded surround, fall front, fitted interior, pierced bracket supports, joined by a shaped stretcher shelf, scrolled feet, casters, height 59 in., width 26 in., depth 14 in.


959. An American Renaissance Carved Walnut Center Table, c. 1860, attributed to Thomas Brooks, Brooklyn, NY, original shaped white marble top, conforming skirt, waisted standard with brackets and four strapwork-carved outswept legs, hoof feet, height 30 in., width 37 3/8 in., depth 26 1/8 in. $1200/1800






960. A Fine American Classical Mahogany and Bronze-Mounted Dressing Mirror, early 19th c., Philadelphia, in the manner of Joseph Barry, rectangular mirror on turned supports, the stand with central plinth flanked by drawers, original lion head pulls, brass paw feet, original condition. $800/1200 Note: The design of the dressing mirror with a shelf placed below the opposing drawers relates to attributed Barry sideboards which also incorporate brass paw feet. 960 961. An American Gilt Bronze, Brass and Marble Sinumbra Lamp, mid-19th c., with original frosted and cut glass shade, fluted columnar standard, hung with “coffin” cut prisms, stepped base, height 27 1/4 in., diameter 12 in.


$1000/1500 962. A Pair of American Gilt Brass and Bronze Sinumbra Lamps, mid-19th c., tapered fluted columnar standard on stepped marble bases, period frosted and cut shades, hung with straight spear prisms, electrified, height 30 1/2 in., diameter 12 1/2 in. $2000/3000 962 963. A Pair of French Empire Gilt and Patinated Bronze SixLight Sconces, 19th c., molded oval backplate issuing a single reeded and acanthine arm, the flared lip with scrolled arms ending in candle cups, height 21 1/2 in., width 12 1/4 in., depth 14 1/2 in. $1200/1800

963 (1 of a pair)

964. A Pair of Antique Continental Neoclassical-Style Gilt Bronze TwoLight Sconces, palmette finial over lyreform backplate issuing reeded arms with ram’s head supports, beaded swags, height 17 3/4 in., width 10 3/4 in., depth 7 1/4 in. $800/1200 W 965. A Pair of French Gilt Bronze

Bouillotte Lamps, each with double wreath finials, swan-form arms, circular plinth, ball feet, height 30 in., diameter 10 in., with fabric shades. 964


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966. A Pair of Neoclassical-Style Patinated Bronze Urns, each with acanthus leaf rim, double faced Janus masque handles, stepped square plinth, height 32 in., width 25 in., depth 15 in. $2500/3500 968 967. A Beaux Arts Bronze Guéridon, late 19th c, square marble top, pierced skirt spiralturned legs, X stretchers ending in claw feet, height 31 5/8 in., width 19 in., depth 19 in.


$700/1000 968. An Antique Continental Gilt Brass and Onyx Étagère, late 19th c., elaborate tiered, mirrored back, onyx and glass shelves, cast foliate brass framework, scroll feet, height 71 1/2 in., width 43 1/2 in., depth 12 in. $1200/1800

969. A French Restauration Gilt Bronze-Mounted Rosewood Sécrétaire à Abattant, early 19th c., rectangular white marble top above a frieze drawer, fall front opening to fitted interior and an inset leather writing surface; three drawers flanked by columns, height 57 5/8 in., width 38 3/4 in., depth 20 1/4 in. $1500/2500 W 970. A Pair of Carved and Gilt

Curule Benches, in the Neo-Classical style, upholstered rectangular seat, the frames with “antique” rubbed surface, dolphin feet, height 18 7/8 in., width 37 1/2 in., depth 17 5/8 in. $700/1000




971. A Pair of Empire-Style Bronze-Mounted Encoignures, top with inset marble, three columnar supports on incurvate plinth base, height 32 in., width 32 1/2 in., depth 23 in.


$1000/1500 972. An American Classical Carved Mahogany Pier Table, early 19th c., rectangular marble top, cove frieze with gilt stencil decoration, columnar supports, mirror back, ball feet, height 36 in., width 42 1/8 in., depth 20 in.


$1500/2500 973. Italian School, 19th c., “The Virgin and Child with St. Anne”, oil on canvas, unsigned, 26 in. x 21 1/2 in., in a later frame. $1200/1800 974. A Group of Three Russian Icons of “The Madonna and Child”, “St. Nicholas”, and “Madonna and Child with Donor”, all tempera on wood with silver rizas, framed together in an elaborate carved hanging case, scrolled acanthus crest, turned finials, height 99 1/2 in., width 23 7/8 in., depth 10 in. $2500/3500 975. A Southern Italian Polychromed Carved Wood Figure of St. Paul, early 18th c., depicted with usual attribute of book, missing sword, height 14 1/4 in., width 6 3/4 in., depth 4 in.

975 974

$700/1000 W denotes the lot is illustrated at


980. A Pair of Monumental Cream Glazed Stoneware Covered Jars, modeled in the Chinese Ming style with baluster form bodies, short necks, flared feet, and shoulders with applied lion masks, the domed covers surmounted by lion dogs, covered overall in a cream glaze, heights 25 1/2 in. $1500/2500 977


976. A Pair of Large Patinated Bronze Figural Six-Light Candelabra, each in the form of a standing classical maidens with dolphins below, raised arm supporting scrolling arms, stepped base on scrolled bracket feet, height 39 1/2 in. $2000/3000 977. A Pair of Charles X-Style Gilt BronzeMounted Cut Crystal Urns, with flared rims and ram’s head handles on diamond-cut plinth bases, paw feet, height 20 1/4 in. $1500/2500 979 W 978. A Carved Rock

Crystal Skull, ranging in tones of feldspar, clear quartz and amethyst, height 4 3/4 in., width 4 1/2 in., depth 6 in.

W 981. A Regency Mahogany

Armchair and Two Side Chairs, early 19th c., all with tablet crest, carved splat and saber legs; the armchair with scrolled reeded arms (3 pcs.)



979. A Pair of Louis XVI-Style Carved and Gilded Mirrors, trophée crest with laurel wreath, oval divided mirror plate, flowering vine surround, carved shell appliqués, height 48 in., width 40 in.

W 982. An Edwardian Mahogany

Sunderland Table, late 19th/early 20th c., deep drop leaves, turned tapered supports, medial stretcher, arched trestle base, height 27 in., open width 25 in., depth 26 in. $400/600

$3000/5000 980


983. An Antique Regence-Style Carved Walnut Armchair, 19th c., upholstered back and seat, acanthus-carved scrolled arms, shell-carved and blocked legs connected by an X stretcher centered by a rosette. $500/700





984 An Adam-Style Satinwood and Paint-Decorated Commode, early 20th c., serpentine banded top, pair of doors enclosing linen trays, tapered colonettes, turned legs, button feet, the whole with garlands, pendant roundels and floral cascades, height 36 in., width 51 1/2 in., depth 23 1/2 in. $2000/3000 985. A Pair of Antique Queen Anne-Style Side Chairs, 19th c., rounded crests, needlepoint upholstered back, balloon seat, cabriole legs, pad feet. $800/1200 W 986. A Neoclassical-Style Gilt Bronze-Mounted Mahogany

Jardinière, the octagonal basin lined with copper, lyre form pedestal on cruciform plinth and paw feet, height 30 in., width 22 3/4 in., depth 15 in. 988

$800/1200 987. A Pair of Empire-Style Bronze-Mounted Mahogany Armchairs, each with scrolled back, arms with sphinx supports, rosette blocks, eagle mounted legs ending in talon feet. $1500/2500

988. Continental School, late 19th/early 20th c., “A Barnyard Shed”, oil on wood panel, illegibly signed “P. Matt...” lower left, 10 1/8 in. x 13 1/2 in., in a carved, gessoed, and gilt wood frame. $800/1200

W denotes the lot is illustrated at


991. A Pair of Spanish Colonial Carved Wood and Wrought Iron Twelve-Light Pricket Candelabra, turned molded urn having gilt and paint surface, the beribboned bouquet with fully modeled flowers, height 53 1/4 in., width 21 in., depth 8 1/2 in.





992. A Fine Antique English Carved Ship’s Figurehead, c. 1850, carved in the form of Athena, goddess of war, with remnants of blue and white paint, ending in a scroll, accompanied by a later, custom, carved wood wall bracket, height 47 in. width 17 in., depth 20 in., height of bracket 22 in., width 15 in., depth 20 in. $4000/6000

989. English School, 19th c., “An Accidental Meeting by a Stream”, oil on canvas, unsigned, 16 in. x 24 in., in an antique carved, gessoed, and giltwood frame. $1000/1500 W 990. An English Earthenware Oversized Cup, c.

1870, made for the American market, depicting a 12-member minstrel band with hand-painted polychrome decoration and slogans, English registry mark, height 4 1/4 in., width 5 1/4 in. $300/500


993. A French Gilt Bronze of a Rooster, early 20th c., after Charles Paillet (French, 1871-1937), cast signature, date “1919”, and foundry mark from “F. Barbedienne” at back of base, on a laurel wreath-decorated domed plinth, all on a cut corner variegated marble base, height 13 3/4 in., length 7 1/2 in., depth 5 in. $1500/2500



998. An Antique William IVStyle Mahogany Drop-Leaf Table, c. 1890, molded top, bulbous turned stem, arched legs ending in paw feet, height 29 in., open width 46 1/2 in., depth 44 3/4 in. $800/1200


999. An Antique ChippendaleStyle Carved Mahogany Armchair, bead and foliate carved crest rail with continuous stiles, Gothicized splat, scroll arms, serpentine seat, molded Marlborough legs, stretchers. $300/500 998

W 996. A Pair of Antique

French Gilt Bronze ThreeLight Sconces, the beribboned arrow quiver backplate with berry pendant, issuing three scrolled acanthine arms, height 22 3/4 in., width 12 3/4 in., depth 8 3/4 in. $700/1000 999

994. An Italian Bronze of “Diana”, early 20th c., after Luca Madrassi (Italian, 1848-1919), on a red marble base, height 27 1/2 in., with 14 in., depth 11 1/2 in. $1000/1500 W 995. An Antique Louis XVI-Style

Carved and Giltwood Mirror, 19th c., cartouche crest centered by a cabochon, foliate carved. $500/700

997. A Directoire-Style Mahogany Extension Dining Table, inset oval green marble top, wide mahogany border and conforming skirt with brass lozenge inlay, turned tapered legs with brass cuffs and casters, two leaves, height 29 3/4 in., length 89 3/8 in., width 49 7/8 in.


$1800/2500 1000. A Continental Gilt Bronze Nine-Light Chandelier, the frame of Neoclassical floral form, scrolling acanthine arms ending in rosettes, hung with pendant prisms, height 37 in., width 36 in. $2500/3500 W denotes the lot is illustrated at


W 1005. A French

Terracotta Bust of a Young Woman, late 19th/early 20th c., on a fluted and turned pedestal, bust height 18 in., width 11 in., depth 7 1/2 in.; pedestal height 42 1/2 in., width 10 1/2 in. $500/750



1006. A Pair of French Silvered Bronze Sculptures of Coquettes, one signed “Saibas 1869” at back, height 12 1/2 in., width 8 1/2 in., depth 3 1/2 in., the other signed “AD Saibas 1870” at back, height 13 in., width 7 1/2 in., depth 3 1/2 in. $1200/1800 1007. A Beaux Arts Carved Giltwood Mirror, c. 1900, the egg and dart frame surmounted by an urn of flowers with cascading floral garlands, beveled mirror plate with inner beaded liner, height 44 in., width 32 in. $1000/2000 W 1008. An Antique Louis

XVI-Style Carved and Gilded Mirror, scrolled acanthus crest, gadrooned and shaped oval frame, shell pendant, height 38 1/2 in., width 25 in. $500/750 1007

W 1003. A French Bronze of “Diana


1001. An Antique Italian Marble of “The Crouching Venus”, after Hellenistic prototypes, height 20 in., width 8 1/2 in., depth 11 in. $1200/1800 W 1002. An American Patinated

Bronze of Cleopatra, late 19th c., cast inscription “NMS NY NO 657” at base, on a carved wood base, height 19 in., width 6 1/2 in., depth 6 1/2 in. $300/500


Chasseresse” or “The Diana of Versailles”, late 19th c., after the 1st c. A.D. Roman marble copy of the lost Greek bronze by Leochares, now located at the Louvre, Paris; the goddess of the hunt depicted with a quiver of arrows over one shoulder and grasping the horns of a stag, height 15 in. $700/1000 Reference: Haskell and Penny Taste and the Antique. Yale University Press: New Haven, 1988, pp 196-198.

W 1004. A French Terracotta Bust of a Young

Man Wearing the Ordre du Saint-Esprit, late 19th/early 20th c., on fluted and turned pedestal, bust height 21 1/2 in., width 12 1/2 in., depth 9 in.; pedestal height 42 1/2 in., width 10 1/2 in. $500/750

1009. A French BronzeMounted Mahogany Fire Screen, 19th c., cylindrical crest above bronze mount, columnar uprights joined by stretcher, arched legs, height 37 in., width 22 1/2 in., depth 12 in. $500/750


1011. An Aubusson Tapestry of a Processional Scene, in the Renaissance style, depicting “the arrival of a noble”, 6 ft. 5 in. x 7 ft. 7 in. $3000/4000 1012. Richard Hall (b. 1857 Finland, d. 1942 Buenos Aries), “Gustavus Vasa and His Wife and Son Before King Hans”, 1881, oil on canvas, unsigned, titled and dated in ink on stretcher bar en verso, 22 3/8 in. x 36 1/2 in., in a carved and painted wood frame. $2000/3000


Note: This evocative painting represents a significant moment in history, for its tender scene of presentation depicts a crucial episode in the rustic retirement of King Hans II of Denmark, Norway and Sweden. Gustavus Vasa, the black-clad father at left, was destined to succeed King Hans and his ill-fated son Christian II, after Gustavus had expelled the Danes from Sweden in 1523, and he had embarked on an almost 40-year reign (1523-1560). He in turn was succeeded on the throne of Sweden by three of his sons, of whom the most successful was Hans (John) III, perhaps the child in this painting. Thus the gesture of the elder King Hans, in recognizing and blessing his namesake and eventual successor, is more than pictorially meaningful. The lack of emblems of state, in the image, is probably explained by the fact that King Hans lived for a dozen years in retirement after his deposition as monarch; indeed, that extra longevity is essential to the painter’s conceit that these three leaders might have met. The standing figure of the mother probably represents Queen Margaret Lejonhufvud, Gustavus’s second wife, who bore him ten children, of whom a daughter and three sons survived (including young Hans, and Charles IX, father of the famous Gustavus Adolfus, King of Sweden 1611-1632). Richard Hall studied in Stockholm in 1875-1881, and he was resident there in 1885-1887; he was a member of the Academy of Art, and the inscription on the verso of this picture claims it was exhibited there in 1881. He eventually went on to London, New York, and finally Argentina; biographical clippings in various Scandinavian languages are also affixed to the reverse of the canvas and stretcher. 1011 W 1013. Continental School, 19th c., “The Final

1010. An Antique French Bronze-Mounted, Marquetry and Walnut Semainier, stamped “A. DELI TRE...”, shaped marble top over six drawers with foliate inlay, shaped base, cabriole legs, sabots, height 55 in., width 30 3/4 in., depth 16 1/4 in.

Duel”, oil on canvas, unsigned, 17 in. x 21 in., in a carved and giltwood frame. $800/1200

$800/1200 W denotes the lot is illustrated at


W 1020. A Pair

of Paris Gilt and Poly­ chrome Porcelain Scent Bottles, mid-19th c., blue ground, hand-painted floral reserves, height 8 3/4 in. $300/500



W 1016. A Paris Porcelain

Solitaire Tea Set, late 19th c., teapot, sugar, creamer, cup and saucer, and lobed tray, all with rose Pompadour and gilt trim, tray length 12 1/4 in., saucer diameter 5 1/2 in. $200/300 Provenance: Deaccessioned by the Louisiana Landmarks Society, gift of the Pitot family. 1021

W 1017. A Pair of Paris

Porcelain Campagna Urns, 19th c., with gilt accents, height 10 in.

W 1014. French

School, 19th c., “Venus and Cupid”, in the manner of François Boucher (French, 17031770), oil on wood panel, 5 3/8 in. x 7 in., in a giltwood frame.



Pitcher, 19th c., cornflower blue with gilt accents, height 9 3/4 in.

1015. Jules René Hervé (French, 18871981), “Le Bain”, oil on canvas, signed lower right, a “Watson Art Galleries, Montreal” label en verso, 10 in. x 8 1/4 in., in a period wood frame.


Provenance: Deaccessioned by the Louisiana Landmarks Society, gift of the Pitot family. W 1018. A Paris Porcelain

Provenance: Deaccessioned by the Louisiana Landmarks Society. W 1019. A Group of Three

Paris Porcelain Garniture Vases, 19th c., each in the rococo taste, various colors, largest height 10 3/4 in., width 13 in., depth 6 1/4 in.


$200/300 1022


Provenance: Deaccessioned by the Louisiana Landmarks Society.

1021. A Pair of Bronze Chenets in the Renaissance Taste, late 19th c., with facing portrait medallions of Robin Hood and Maid Marian, the urn-form uprights with ringed lion masks, with paw feet on shaped bases, joined by molded crossbar, height 21 3/4 in., width 51 in., depth 6 1/2 in. $600/900 1022. An Enamel and Gilt Bronze-Mounted Bird Cage with Three Automaton Singing Birds, hexagonal plinth, the reserves of landscapes, molded base on ball feet, height 20 1/2 in., diameter 14 1/2 in. $1200/1800 1023. A Pair of Napoleon III Gilt Bronze and Green Onyx Cassolettes, mid-to-late 19th c., gilt bronze foliate neck with egg and dart molded lip and stylized swan handles, mask mounts, fluted collar over stepped base raised on foliate scroll feet, height 13 in., width 5 1/2 in., depth 5 1/2 in. $800/1200

1024. A Pair of Italian Specimen Marble Obelisks, of typical form, inlaid with various marbles, square plinth base, height 21 in., width 6 1/4 in., depth 6 1/4 in. $1200/1800 1025. A Pair of Bronze and Cut Glass TwoArm Argand Lamps, mid-19th c., faceted spherule finial, shaft with prism hung collar, circular pedestal base, etched glass shade, electrified, height 20 1/2 in.



$1500/2500 Provenance: Rosedown Plantation, St. Francisville, LA. W 1026. A Pair of Wrought

Iron Hexagonal Wall Lanterns, of gothic inspiration, the arched top with central twist spire, arched glazed panels, scrolled supports below, cartouche backplate, height 38 1/2 in. width 13 in., depth 17 in.



$700/1000 1029. A French Bronze of a Horse, late 19th/early 20th c., after Jules Moigniez (French, 1835-1894), cast signature at base, on a rectangular brushed marble base, height 13 1/2 in., width 15 1/2 in., depth 6 1/2 in.

1027. A Rare American Patinated Brass and Tôle Student Argand Lamp, 19th c., the font labeled “Manufactured by H.N. Hooper, Boston”, the adjustable drum-shaped reservoir suspended on a rod supporting an adjustable tôle shade surmounted by a flame finial, the burner retaining all elements, on a weighted circular foot, height 21 in., diameter 7 in.


$800/1200 W 1028. A Pair of French Tôle Peinte

and Porcelain Two-Light Sconces, early 20th c., scroll arms decorated with metal leaves and colorful porcelain flowers, now electrified, height 10 in., width 12 in. Note: Minor chips and wear.


1030. An Italian Carrara Marble of “Cupid and Psyche”, the mythological lovers depicted in an embrace, height 32 1/2 in., depth 13 in., width 13 in., presented on a later mahogany pedestal, pedestal height 43 1/2 in. $1200/1800

$500/700 W denotes the lot is illustrated at


1036. A William IV Mahogany and Ebonized Pedestal Sideboard, 19th c., with backsplash, molded “plum pudding” figured top, paneled frieze drawer flanked by cupboards, one opening to a drawer and adjustable shelves and the other with a bottle drawer, on plinth base, height 39 3/4 in., width 70 1/4 in., depth 23 1/2 in. $1000/1500 1033


W 1031. An Italian Rococo-Style Carved

Giltwood Cartouche Mirror, 19th c., plumed scroll crest, shaped acanthus surround with pendant husks, shell and cabochon pendant. $300/500 1036

1032. A French Giltwood Trumeau Mirror, 19th c., scrolled acanthus and floral frame, the painted canvas depicting figures within an Alpine scene, above a rectangular mirror plate, height 63 1/2 in., width 34 in.

1037. An Empire-Style Blondewood Center Table, circular top now fitted with reticulated tôle jardinière, on three columnar supports, incurvate triangular base, recessed casters, height 30 1/4 in., diameter 46 in.

$1000/1500 1033. A Napoleon III Gilt Patinated Bronze and Marble Three-Piece Clock Garniture, 19th c., the striking bell movement marked “Vincenti Cie, 1855, Medaille d’Argent”, the patinated globe-form case surmounted by allegorical doves and clouds, mounted with Roman numerals and stars, dragon-form clock hands, held aloft by putti on tall pedestal, ball feet, two-light candelabra with conforming bases, height of clock 21 in., width 6 1/4 in., depth 6 1/4 in., candelabra height 13 3/4 in.

$1500/2500 1037

$1200/1800 W 1034. A Pair of Antique Chinese Red

Lacquered Side Chairs, 19th c., each having a shaped crest rail, shaped splat, paneled seat with brackets below, chamfered legs, stretchers. $600/800

W 1035. A Pair of Blue and White Decorated Celadon

Ground Covered Jars, each baluster body decorated in the Chinese Kangxi style with playful blue and white Buddhistic lions on a bright celadon green ground, domed covers with knop finials, heights 18 in. $600/800


1038. Niek van der Plas (Dutch, b. 1954), “Yellow Umbrella”, oil on wood panel, signed lower right, 7 7/8 in. x 10 in., framed. $1000/1500 1039. Jean Louis Lefort (French, 1875-1954), “Feeding the Swans”, oil on wood panel, signed lower right, 11 7/8 in. x 15 3/4 in., framed. $1200/1800 1040. A Chinese Export Canton Famille Rose Porcelain Ewer, 19th c., painted with alternating figural and bird-and-flower panels reserved on a gilt ground with meandering vine and butterfly design, height 15 1/8 in.



W 1046. A Pair of Edwardian

Bronze and Glass Garniture Lamps, the quatrefoil bases supporting shaped plates springing 10 arms decorated with white glass flowers and bronze leaves, flowers and candle holders, electrified, height 28 in., width 26 1/2 in.

$800/1200 W 1041. A Chinese Export

Famille Rose Porcelain Dish, late 19th/early 20th c., circular shallow form with overglaze polychrome enamel floral and fruiting vine decoration, height 1 7/8 in., diameter 10 7/8 in.

$800/1200 W 1047. An Antique Edwardian

Inlaid Oak Side Table, segmented geometric top of specimen woods, reeded stem, arched legs, height 25 5/8 in., width 22 in., depth 22 in.



1039 W 1042. A Continental

Brass Portrait Medallion of Beethoven, early 20th c., with ivory panel below inscribed with a line of music, encased in a cove-molded carved wood glass fronted shadow box, overall dimensions 14 in. x 13 1/4 in.

W 1048. A

Trompe L’oeil and Lacquered Three Panel Screen, each panel painted with leather-bound books, the base faux marbre.


$600/900 W 1043. An Austrian

Stained Glass Memorial Panel, 1871, depicting the deceased as “Justice”, signed “C. Boucher” at lower right, 22 in. x 15 in. $300/500


W 1044. After Peter

Behrens (German, 18681940) “Jugendstil” Figural Bronze Table Lamp, signed and dated [1902], nautilus shellform slag glass shade atop female figural support on naturalistic base, height 29 1/2 in., width 18 3/4 in., depth 24 in.

W 1045. An Art Nouveau Brass and Slag Glass

Hanging Lamp, c. 1900, onion-dome form, pierced, decorative rim, slag glass in greens, reds and brown, height 9 in., diameter 24 in. $800/1200

1049. A Pair of Marquetry Commodes, rectangular top with canted corners over a case fitted with three drawers on square tapered legs, height 28 3/4 in., width 24 5/8 in., depth 18 1/2 in. $700/900

$700/1000 W denotes the lot is illustrated at


1053. An Antique American Inlaid Mahogany and Maple Slant-Front Desk, fitted interior, frieze drawer, over two drawers flanked by engaged columns, conforming plinth, ball feet, height 42 1/2 in., width 41 5/8 in., depth 21 1/8 in. $500/750 W 1054. An American



Late Classical Mahogany Footstool, c. 1840, serpentine rails, bracket feet, later casters, height 16 1/2 in., width 18 in., depth 18 in. $150/250 1055. A Good English Silvered Bronze Figural Garniture, mid-19th c., probably Elkington, whippets cavorting under palm trees, rockwork base, now mounted as a table lamp, ebonized wood base, height to top of the finial 31 1/4 in. $800/1200 W 1056. A French


1050. A Pair of Moresque Inlaid Tabourets, of geometric aesthetic, reticulated bracketed base, height 26 5/8 in., width 14 3/4 in., depth 14 3/4 in.




W 1051. A Pair of Classical-Style

Mahogany Pedestals, each with circular socle, square top, paneled sides, molded plinth, height 21 1/2 in., width 19 1/4 in., depth 19 1/4 in.

1057. An American Rococo Carved Rosewood Center Table, mid-19th c., shaped marble top, the skirt centered with a leaf cartouche on each side, carved cabriole legs, arched pierced stretchers, lobed urn finial, height 29 1/4 in., width 39 3/4 in., depth 28 1/2 in.

$250/350 1052. A Continental Bronze Industrial Train Clock, 20th c., locomotive form with turning wheels, case also fitted with a barometer and thermometer, plinth base with rails, height 18 in., width 18 3/4 in., depth 9 1/4 in.


$1500/2500 1057


Cloisonné and Bronze Clock Compendium, 20th c., central standard with handle, the clock with top-view visible escapement, the other case incorporating a thermometer and hygrometer, height 7 in., width 8 1/4 in., depth 3 1/2 in.

1058. An Antique American Mahogany Dining Table, late 19th c., having a square top opening to receive six leaves, molded skirt, bulbous stem, arched scroll legs, paw feet, height 29 in., closed length 52 in., depth 54 1/2 in. $1500/2000 1059. A French Bronze-Mounted Kingwood Parquetry Bureau, 19th c., molded top above scalloped apron fitted with three drawers, cabriole legs ending in sabots, height 28 3/4 in., width 38 1/2 in., depth 17 1/2 in. $1200/1800 W 1060. A Federal Giltwood Pier Mirror, 19th c.,

stepped cornice with spherules, églomisé panel, beaded stiles, height 30 1/4 in., width 20 in. 1058




1061. Attributed to Charles Field Haviland (American, b. 1833, active France 1850s), a pair of portraits including “A.C. Conely”, and “Portrait of a Woman”, mixed media on cards, unsigned, the former pencil-inscribed “Artist Charles Haviland drawn for A.C. Conely when he was about 16 years old” en verso, 3 9/16 in. x 2 1/4 in., in attractive matching frames. $1000/1500 1062. Nancy Conrad (American, b. 1940), “Bend in the Concho”, 1986, oil on canvas, signed lower right, typewritten label “Personal Property of Trammell Crow: en verso, 47 3/4 in. x 83 5/8 in. $3000/5000 1062

W denotes the lot is illustrated at


1065. Cal Gaspard (American/ Texas, b. 1934), “Cal’s Home”, oil on canvas, signed lower left, 30 in. x 48 in., in a giltwood frame. $1800/2400 1064

1066. Alexander John Drysdale (American/New Orleans, 18501934), “Morning Sunlight in the LaFourche County”, oil wash on board, pencilsigned and dated “1916” lower left, signed, titled and bearing a handwritten label en verso, 6 3/4 in. x 20 1/8 in., in a period frame.


$2500/3500 1065


1063. Isabel Cohen, Mrs. Gorda C. Doud (American/ South Carolina, 1867-1945), “Still Life of Chrysanthemums”, oil on canvas, signed lower left, with “National Association of Women Painters and Sculptors New York City” label en verso, 30 in. x 36 1/8 in., in an attractive giltwood frame.


$2000/3000 Note: In the late nineteenth century, the Charleston artist Isabel Cohen studied at the Art Students League and British Academy, a notable accomplishment for a woman at that time. Cohen became well- known for her beautifully rendered still lifes of flowers, including this “Still Life of Chrysanthemums”, and portraits of women. She exhibited at the 1902 Charleston Exposition, the 1904 St. Louis Exposition, the Society of Independent Artists, and the National Association of Women Painters and Sculptures.


1064. Cal Gaspard (American/ Texas, b. 1934), “Feeding Time at a Louisiana Homestead”, oil on canvas, signed lower left, 24 in. x 36 1/8 in., framed.

1067. W. H. D. Koerner (American/ California, 1878-1938). “Before the Brawl Vignette”, oil on board, initialed lower right, sight 24 3/8 in. x 31 1/4 in., framed.



1068. American School, 19th/ early 20th c., “Strawberries”, oil on canvas, unsigned, pencilinscribed “Feb 21-1888” on stretcher, with a “Denver, Art and Mercantile” label en verso of frame, 14 1/8 in. x 20 1/8 in., in a giltwood frame.

W 1075. John Tarrell Scott

(American/New Orleans, 1940-2007), “Ethiopian Graffiti”, collograph on paper, pencil-signed, numbered “36/50”, and titled, 20 in. x 17 in., matted and framed. $800/1200

$700/900 W 1076. Hirst Dillon Milhol-

1069. T. Dart Walker (American/New York, 1869-1914), “Winter in the Park”, oil on canvas, signed center left, 16 in. x 24 1/8 in., in a giltwood frame. $1000/1500

len (American/Virginia, 19061970), “Old Georgetown Canal”, etching on paper, pencil-signed, numbered “13/40”; signed, titled and dated “Oct. 12, 1939” in plate, pencil-inscribed “Library of Congress, Washington, DC” en verso, 8 1/4 in. x 9 1/2 in.; together with American School, 20th c., “Mountain Village”, etching on paper, illegibly pencil-signed, 8 1/4 in. x 11 1/4 in.; and Gerry Pierce (20th c.), “Saguaros”, reproduction on paper, unsigned, 6 3/4 in. x 6 in., (3 pcs.)


W 1070. Edward R. Whiteman

(American, b. 1938), “Kaleidoscope”, paint on treated paper, signed, titled and dated “1982” en verso, 75 in. x 92 in., unframed. $400/600

$500/700 W 1071. An American Art W 1077. Joyce Linde

Pottery and Gilt-Mounted Lamp, late 1930s, vase now with pierced and scrolled base, Art Deco swan and scallop finial, the shaft marked Crest Company Chicago, overall height 30 in. $600/900

(American/Louisiana, b. 1944), “Above the Salt”, 1991, silver gelatin print, signed lower right, 15 in. x 15 in.; and “Smoke Stacks”, 1995, silver gelatin print, signed lower right 15 in. x 15 in. (2 pcs.)



W 1072. An Architec-

tural Frieze, with winged griffins in deep relief, height 14 in., width 48 in., depth 4 in.

W 1078. Two Joey

Bonhage (American/ New Orleans, 19412008) Painted Metal Flower Groups, one of bird of paradise, on a stepped wooden base, signed and dated “1981” height 12 2/8 in., and “Azaleas” unmounted and unsigned, height 6 1/4 in.

$250/350 W 1073. An English

Arts and Crafts Walnut Side Table, c. 1900, rectangular top, turned legs, spindled stretchers, turned feet, height 24 in., width 24 in., depth 19 1/8 in. $300/500 W 1074. Frances Benjamin Johnston (American/New


$300/500 1079. Two South Pacific Giant Clam Shells, probably Micronesia, tridacna gigas or, traditionally, pa’ua, length 24 1/2 in., width 16 in., depth 10 in. and length 19 in., width 11 in., depth 8 in.

Orleans, 1864-1952), “Fountain in the Pool”, silver gelatin print mounted on board, embossed signature lower right, no. 90 lower left, 9 3/8 in. x 11 5/8 in., unframed; together with a vintage poster, Exhibition of Photographs by Frances Benjamin Johnston, HISTORIC BUILDINGS, Some buildings now destroyed, Some examples of restoration, Shown on the occasion of meetings of the National Council for Historical Sites and Buildings, The Library of Congress.




Note: The largest living bivalve (2 shelled) mollusk, the Giant Clam, tridacna gigas, has an average lifespan in the wild of 100 years or more. W 1080. A French Enameled “Mirus” Stove, c. 1925, foliate

pierced top, bracket feet, height 21 in., width 18 1/2 in., depth 11 in.

W denotes the lot is illustrated at


1081. A Marbro Company Carved Alabaster Lamp, mid20th c., ruffled lip over floral-carved body, on gilt plinth base, paper label, overall height 43 3/4 in. $1500/2500 Note: The Marbro Company was founded by Morris Markoff and his brother after World War II and was located in the Los Angeles garment district. W 1082. An American Painted

Metal Kinetic Sculpture of a Horse and Jockey, 20th c., height 19 3/4 in., width 9 in., depth 4 in. $500/700


W 1083. A George Nelson

Chronopak Desk Clock for Herman Miller, 1950s, electric movement, made by the Howard Miller Clock Co., Zeeland, MI, height 6 in., width 4 1/2 in., depth 4 1/2 in.

1085. Sedrick Huckaby (American/Texas, b. 1975), “Self-Portrait”, oil on wood panel, unsigned and dated “2010” en verso, 10 in. x 7 7/8 in., in a handcrafted artist’s frame.


Note: Huckaby attended the Skowhegan School of Painting and Sculpture and received MFA’s from both Boston University and Yale University. He is the recipient of the prestigious Guggenheim Fellowship and received the Joan Mitchell Foundation Award.



His distinctive style of thick impasto and heavy brushwork, combined with his use of a deep rich palette, create enigmatic works charged with a sense of energy and vitality. Huckaby features his family and frequently references his heritage in his artworks. His works are included in the collections of the Whitney Museum and the African American Museum in Dallas. W 1086. James

Michalopoulos (American/New Orleans, b. 1951), “Blonde Nude in A Hat”, acrylic on canvas, signed “Mitchell” and dated “’81” lower right, in a giltwood frame. 1084


$1000/1500 Provenance: B. Wolf Collection, New Orleans.

1084. Noel Rockmore (American/New Orleans, 1928-1995), “Mime with Polichinelle”, oil on canvas, signed, dated “’81” and inscribed “New Orleans” lower left, with “Sandra Zahn Oreck Gallery” and “Artist’s Showroom / New Orleans, LA” labels en verso, 30 1/8 in. x 24 in., in a giltwood frame; together with a handwritten note reading: A Polichinelle - the word comes from the Neopolitan Polecenalla[sic] - has roots in the Italian Commedia dell’Arte”. $1000/2000


1087. Charles Whitfield Richards (American/ New Orleans, 1906-1992), “Needlework au Naturale”, oil on canvas, signed lower right, 20 in. x 24 in., in a giltwood frame. $700/900

1088. Charles Whitfield Richards (American/New Orleans, 19061992), “Red Leotard”, oil on canvas, signed lower right, 16 in. x 14 in., in a giltwood frame. $500/750



W 1089. Robert White (American, 20th c.),

“Marvin Gaye Dreams”, oil on canvas board, signed and dated “3/86” lower right, 24 in. x 18 in., framed. $600/900 W 1090. Ralph Moffett Arnold (American/

Chicago, 1928-2006), “Study for Monument”, mixed media on canvas, signed and dated “’85” lower right, titled on artist’s label on backing board, 25 in. x 19 in., unframed. $400/600 1092

W 1091. Martin Laborde (American/New

Orleans, b. 1943), “The Twelve Black Circles”, oil on canvas, signed lower right, titled and dated “Sept. 1973Feb. 1974” en verso, 50 in. x 41 in., frame hand-painted by artist.

1095. William Tolliver (American/ Louisiana, 1951-2000), “Mystery Lady”, pastel on paper, signed lower left, pencil inscribed “86106” lower center (under mat), image 8 3/8 in. x 3 3/8 in., paper size 15 3/4 in. x 10 3/4 in., attractively framed.

$500/750 Provenance: Acquired at Bryant Gallery, French Quarter, c. 1974. 1092. Mel Wiken (American/New Orleans, b. 1944), “Mary’s Tavern, Magazine St. New Orleans”, oil on canvas board, signed and dated “’71” lower right, titled en verso, 12 in. x 24 in., in a giltwood frame.

$1000/1500 W 1096. Brock Loper (American/


Mississippi, 1935-2009), “Columbine at Rest” acrylic on canvas board, signed and dated “1997” lower right, signed, titled, and dated en verso, 20 in. x 16 in., attractively framed.

W 1093. Lillian Jonte (American/New Orleans, d.

1943), “French Quarter Courtyard”, oil on board, signed lower right, 15 3/4 in. x 14 in.; together with E.V. Gilman (19th c.), “The Quarter “ acrylic on paper laid down on board, signed lower right, with a “Williams Framers, Bourbon St., New Orleans” label en verso, 14 7/8 in. x 14 7/8 in., both framed.

$800/1200 W 1097. Luis Alfonso Jr. Jimenez

(American/Texas, 1940-2006), “#1 Horse/Indian of Progress Suite”, lithograph on paper, pencil-signed, numbered 32/50, and dated “76”, 23 1/2 in. x 35 1/2 in., matted and framed.

$400/600 1094. Noel Rockmore (American/New Orleans, 1928-1995), “Mardi Gras No. 1”, pastel on paper, signed, titled, and dated “Aug. 73” upper right, with “Brown’s, Jackson, MS” backing paper, 18 in. x 23 7/8 in., matted and framed. $1000/1500


1095 W denotes the lot is illustrated at


W 1098. Luis Alfonso Jr.

W 1106. An Antique

Jimenez (American/ Texas, 1940-2006), “#3, Stage Coach”, lithograph on paper, pencil-signed, numbered “32/50” and dated “’76”, 23 1/4 in. x 35 1/4 in., matted and framed.

George III-Style Pine Linen Press, 19th c., stepped cornice above two paneled doors opening to shelves, the lower case with two drawers over two long drawers, bracket feet, height 86 in., width 58 in., depth 24 5/8 in.

$600/900 Provenance: Sold by River Books, New Orleans, LA 1976.

$700/900 W 1107. A French Iron

W 1099. Joseph

Woodsen “Pops” Whitesell (American/ New Orleans, 18761958), “Lyle Saxon”, silver gelatin print on paper, signed and inscribed “N.O.” lower right, inscribed “For Eddie Hebert - Friend for twenty years, and he never let me down, Lyle Saxon, 1938” lower left, 13 1/2 in. x 10 1/2 in., framed.


$500/750 W 1108. W.H.D. Koerner

(American/California, 18781938), “Girl with Blossoms”, gouache, signed and dated, May 1904 cover The Pilgrim magazine, 24 in. x 17 in., framed.

$150/250 1100. A Group of Twenty Five Albumen Photographs of Ceylon, c. 1870, each photograph stamped by “W.L.H. Skeen & Co, Colombo, Ceylon”, with scenes of coffee plantations, workers, owners etc., mounted in album, loose leather cover, photographs 8 1/2 in. x 11 in. or the reverse.

$800/1200 W 1109. Joseph Day Knap

(American/New York, 18751962), “Six Mallards”, watercolor on paper laid down on board, signed lower right, with a Arthur Ackermann & Son Inc. New York label en verso, 14 1/2 in. x 19 7/8 in., framed.



W 1101. A Dutch Brass Tobacco

1110. Robert Rucker (American/ Louisiana, 1932-2000), a pair of “French Quarter Scenes”, watercolors on paper, each signed lower left, each sight 14 3/8 in. x 5 3/8 in., matted and framed alike.

Box with Raised Curvilinear Designs, early 19th c.; together with a round pewter box and two tall silverplate cylindrical boxes with foliate and figural relief decoration, all 19th c. Continental. 1110

$400/600 W 1102. An Antique German

Pewter-Mounted Stoneware Pitcher, with five similar small steins, all with molded portrait busts and foliate decoration, cobalt on grey ground, height of pitcher 14 in.; height of steins 5 1/4 in. $300/500

W 1104. A Southern Late

Federal Walnut Chest of Drawers, early 19th c., four graduated drawers, ring turned pendants at the sides, turned legs, height 43 1/2 in., width 42 in., depth 21 in. $400/600

W 1103. Two English Mahogany Boxes,

19th c., one with mother-of-pearl inlay, the other with brass plate and key, length 7 3/4 in., width 5 in. and length 8 1/4 in., width 4 3/4 in. $200/300

W 1105. A French Provincial

Painted Blanket Chest, 19th c., later brass carrying handles, hinged top opening to a void interior with small open storage bin, height 19 in., width 50 in., depth 19 in. $500/750


and Brass Baker’s Rack, scroll crest and supports, three bowfront tiers, height 84 3/8 in., width 49 5/8 in., depth 22 in.

$600/900 W 1111. Janice R. Sachse (American/Louisiana, 1908-1998), “Autumn Wonders: Girl in the Landscape”, oil on canvas, signed, titled, dated “64” and inscribed “For Flora and Harold” en verso, 14 1/8 in. x 12 in., framed.

$500/700 W 1112. Rea T. Waters (American/

Mississippi, b. 1933), “Chapel of the Cross (Episcopal), Madison County, Mississippi”, watercolor on paper, signed lower right, sight 14 3/8 in. x 21 3/4 in., attractively matted and framed. $500/700



1113. Alexander John Drysdale (American/New Orleans, 18701934), “Bayou Scene”, oil wash on board, pencil signed lower left, sight 17 1/8 in. x 22 5/8 in., matted and framed. $1000/2000 W 1114. Charles

Henry Reinike (American/ Louisiana, 1906-1983), “Audubon Park”, watercolor on paper laid down on board, signed and dated “’34” lower right, 12 3/8 in. x 16 in., matted and framed.

1117. Russian School, late 19th/ early 20th c., “The Sleigh Ride”, oil on canvas, illegibly signed lower left, 13 in. x 19 in., in a giltwood frame.



Provenance: Wedding gift from the artist; descended in the family, New Orleans. W 1115. Max Kahn (Russian/

American, 1902-2005), “Circus Horses”, lithograph on paper, pencil-signed, titled, dated “48” and inscribed “ 16 imp”, 13 3/4 in. x 19 7/8 in., matted and framed. $300/500 1116. Kuhn (Danish, 19th c.), “A Summer Game”, oil on canvas, signed lower left, gallery label en verso, 13 3/4 in. x 18 7/8 in., in a giltwood frame. $2000/3000 Provenance: Sold at Sotheby’s Arcade July 16, 1998, as lot 256.



W 1120. An English Mahogany Chest-Form W 1118. H. L. S. Birkinshaw

(20th c.), “Nature Morte Mallard”, oil on canvas, signed and dated “1904” lower left, 18 1/8 in. x 20 1/8 in., framed. $600/900 W 1119. A Pair of Blue Opaline

Gilded and Pressed Brass Tie Backs, mid-19th c., the glass New England or Sandwich, each in the form of a morning glory and foliage, length 13 in. and 12 in. $200/400

Tea Caddy, early 19th c., with brass escutcheon and handle, on bracket feet, height 5 3/4 in., length 9 1/2 in. Note: Hinge broken. $150/250 1121. An American Classical Gilt BronzeMounted Mahogany Work Table, early 19th c., rectangular top, two drawers, turned, painted stem, arched scroll feet, gilding and mounts, height 28 5/8 in., width 21 5/8 in., depth 15 7/8 in. $600/900 W 1122. An American Classical Giltwood

Mirror, early 19th c., Philadelphia, cove-molded burnished frame, retaining original gilt surface, height 36 1/4 in., width 24 in. $500/700 W denotes the lot is illustrated at




1123. An American Late Classical Giltwood Pier Mirror, 19th c., molded frame enclosing a mirror plate, height 71 in., width 32 in. $500/700 W 1124. An Antique French Gilt

Bronze Three-Piece Clock Garniture, signed “J. Verhagen” on clock face, surmounted by a Bacchic putto, the whole with grape vines and scrolled acanthus, putto and goat at the base, conforming five light candelabra, clock height 16 1/2 in., width 12 1/8 in., depth 7 in., candelabra height 17 5/8 in. $600/900 W 1125. Robert Cusner (Belgian, 19th

c.), “The Game”, oil on board, signed lower right, 9 1/2 in. x 12 3/4 in., framed. $400/600

W 1127. Four Antique Classical-Style

W 1132. An Antique Bronze Ship’s

Architectural Columns, 19th c., each fluted and tapered with collared bases, old white paint, height 93 1/2 in.

Bell, possibly Spanish, labeled “N.D.A.S. Tomas D’quine ANOE 837”, height 18 in., diameter 15 in. Note: Lacking clapper or yoke.


$700/1000 W 1128. A Pair of Antique American

Classical Painted Wood Architectural Pilasters, mid-19th c., the fluted Doric half columns with conforming bases, height 95 1/2 in.

W 1133. A Small Antique American



W 1129. A Set of Four Antique

W 1134. An Antique American Cast

Painted Cast Iron Urns, each of compressed campagna form, height 15 in., width 36 in., depth 19 in.

Iron Indigo Pot, 19th c., flared lip, post handles, bulbous body, diameter 35 1/4 in., depth 19 in. Note: Chip to rim.



1130. A Large Pair of Wrought Iron Gates, of Art Nouveau inspiration, the arched panels with extensive scroll ornament, the surface with various oxidation.

W 1135. An American Cast Iron

Cast Iron Sugar Kettle, 19th c., flared lip, bulbous body, tripod feet, height 17 in., diameter 19 in.

Molasses Kettle, 19th c., knopped rim, small size, marked on rim “Warrented 22 gal”, height 15 in., diameter 27 in. $800/1200

$2000/3000 W 1126. A Pair of Continental Putti,

early 20th c., each winged figure holding a vase, on round stepped marble bases, each height 10 1/2 in., width 5 1/4 in., depth 4 in. $400/600

W 1136. Two Decorative American W 1131. A Pair of Patinated Bronze

Figural Jardinières, in the Moresque taste, circular molded base, height 16 3/4 in. $600/900

Ship Models, 20th c., comprised of a mahogany and painted schooner, outfitted with sails, and a mahogany and composition model of a catboat with gaff ring, both presented on stands, schooner height 42 in., length 36 in., width 6 1/2 in.; catboat height 36 in., length 21 1/2 in., width 9 in. $300/500


1137. A Group of Twenty-Three Vintage North American Duck Decoys, 1890s-1950s, various sizes, from Maryland, Maine, Illinois, New Jersey, Wisconsin, Michigan, California and Canada. $1800/2500 W 1138. An American Arts and Crafts Stool, c.

1900, plank top, arched legs, height 18 in., width 10 1/2 in., depth 10 in. $75/125


Provenance: Museum of Fine Arts, Houston, Bayou Bend Collection, gift of Miss Ima Hogg, 1960. 1139. A Pair of Cast Iron Ship’s Cannons, 19th c., signed “Napier”, pierced sides with adjustable short cannon barrel, movable wheels, in old painted surface, height 17 1/2 in., barrel length 23 in., overall length 24 in., width 8 in. $1500/2500 1140. Keith Joubert (South African, b. 1948), “African Elephant”, oil on canvas, signed lower right, 36 in. x 28 in., attractively framed.


$1200/1800 W 1147. A Group of Five

W 1141. Colette Pope Heldner (American/New

Chinese Blue and White Porcelain Circular Boxes, Ming Dynasty (1368-1644), one with faint “swatow” green and red highlights, each of compressed globular form, three lobed, one with deeply combed sides, two covers with finials, height 2 in. to 3 1/2 in.

Orleans, 1902-1990), “Swamp Idyl (Louisiana Bayou Country)”, oil on canvas, signed lower left, signed and titled en verso, 12 in. x 34 in., unframed. $800/1200 W 1142. Colette Pope Heldner (American/New

Orleans, 1902-1990), “Swamp Idyl”, oil on artist board, signed lower left, signed, titled and inscribed “Louisiana Bayou Country” en verso, 30 in. x 12 in., framed.

$400/600 W 1148. A Group of Six Early


Chinese Celadon Pottery Bowls, varying mossy green to bluegreen glaze, heights 1 3/4 in. to 3 in., diameters 3 1/4 in. to 7 1/4 in.

W 1143. A Group of Five Satin Brocade Drapery

Panels, gold with pale gold rosette, and gold and green tassels, lined in ivory fabric, each top width 36 in., each length 129 in. $400/600 W 1144. A Pair of Vintage Needlepoint Panels

Depicting Country Life, 19th c., one depicting a cooper, the other a milkmaid, each wool thread on linen, hands and heads in petitpoint, threads retaining color intensity, each sight 28 in. x 27 1/2 in., framed alike. $500/750 W 1145. A Near Pair of Indonesian Carved and

Polychromed Painted Wood Ducks, Bali, each in bust form, carved as mythical creatures with duck-like bills, crested feathered heads, small ears, and furry necks draped with pendant hung collars, height 15 3/4 in. and 16 in. $200/300


W 1146. A Group of Eleven

Antique Chinese Blue and White Porcelain Vessels, Ming Dynasty (1368-1644), variously decorated to the interiors and exteriors, including eight bowls, heights 1 1/4 in. to 2 3/4 in., diameters 3 7/8 in. to 11 1/8 in., and three cups, heights 1 1/2 in. to 2 1/4 in. $500/700

$300/500 W 1149. A Group of Four Thai

Sawankhalok Blue, White and Brown Decorated Pottery Boxes, 14th/15th c., each of compressed globular form, three raised on short feet with finialed covers, height 3 in. to 4 1/2 in., (4 pcs.) $300/500 W 1150. A Group of Three Early

Chinese Celadon Pottery Wares, blue glaze, including a twin handled jarlet, height 2 3/8 in.; a bowl, height 2 1/8 in., diameter 4 in., and a foliate rimmed dish, diameter 4 1/4 in. $200/400 W denotes the lot is illustrated at


W 1151. Two Japanese Kutani

W 1161. German School, 19th c.,

Porcelain Vases, the first, a twin handled Ko Kutani style bottle vase decorated with Western figures before a building flying the flags of Japan and England on one side and an English ship on the other, base marked, height 8 1/8 in., the second, a Kinrande decorated vase with reticulated blue and white “lattice” foot and neck, height 6 1/2 in.; together with an antique orange glazed water pot, possibly Chinese, compressed globular form, diameter 2 3/4 in., and a small lavender glazed dragon cup, height 1 1/4 in., (4 pcs.)

“Portrait of the Young Beethoven”, miniature watercolor on bone, signed “Scherrer” lower left, inscribed “Beethoven” on backing, 3 5/8 in. x 2 5/8 in. oval, in an ornate easel frame. $200/300 1162 1162. An American Inlaid FiveString Banjo-Banjeaurine by S.S. Stewart, c. 1894, by Samuel S. Stewart, Phila., serial # 9538, fully marked, with intricate wood and mother-of-pearl inlay, some restoration.


$700/1000 W 1152. American School, 20th

c., “The Warehouse”, mixed media on board, unsigned, 9 3/4 in. x 10 in., attractively matted and framed.


$700/900 W 1153. A Persian

Bakhtiari Rug, red and cream ground, central floral medallion, geometric floral border, 6 ft. 7 in. x 10 ft. 5 in.

1163. A Vintage Gibson Archtop Tenor Guitar, 1930s, model TG-7, stamped serial number “1202C” followed by red manuscript “-4”, sunburst spruce top with F-holes, elevated fingerboard with dot inlay, original tail piece, Grover tuning pegs, tortoise-grain pickguard, with probably later case. $1000/1500

$1000/1500 W 1164. An W 1154. A Persian

Kashan Carpet, cream and red ground, central medallion, geometric floral border, 4 ft. 7 in. x 7 ft. 2 in.


$700/1000 W 1155. L. Dupre (French, 19th c.),

“Portrait of a Woman with a Ruby, Pearl, and Emerald Diadem”, miniature watercolor on ivory, signed lower right, 3 3/4 in. x 2 1/4 in., in a period frame. $300/500 W 1156. Continental School, 19th c.,

“A Woman in Elizabethan Dress”, miniature watercolor on ivory, unsigned, 3 1/8 in. x 2 1/2 in. oval, framed. $200/300 W 1157. Continental School, 19th c.,

“Portrait of a Gentleman”, miniature watercolor on ivory, signed “Guyold G” mid left, 2 3/4 in. x 1 3/4 in., in a fine period frame. $200/300


W 1158. Virginia Reynolds (American/

Chicago, 1866-1903), “Portrait of a Woman in an Ermine Lined Cape”, miniature watercolor on ivory, signed and inscribed “Paris” lower right, 3 1/2 in. x 2 3/4 in., in a fine period frame. $200/300 W 1159. Continental School, 19th c.,

“Portrait of a Woman in a Silk and Feathered Hat”, miniature watercolor on ivory, unsigned, 3 1/2 in. x 2 1/2 in., in an attractive round gilt frame. $200/300

Autographed Albert Einstein Letter, a type letter signed, dated from Berlin, 1929, on Einstein’s letterhead, to Herr Rector, confirming a dinner engagement, accompanied with a B. Altman & Co., New York, 1970s receipt of purchase, matted and framed with a photograph of Einstein. $800/1200 1164A. An American Classical Carved Mahogany Sofa, early 19th c., New York, cylindrical crest rail, scrolled arms with stylized dolphins, cornucopia brackets, paw feet, height 34 1/4 in., length 74 in., depth 24 in. $800/1200

W 1160. American School, 19th c., “Portrait

of a Gentleman”, miniature watercolor on ivory, unsigned, lock of hair under glass en verso of frame, 2 3/4 in. x 2 1/4 in., in original frame, all set within a velvet lined presentation case. $200/300

Note: Exhibited at the Memphis Brooks Museum of Art.

W 1165. [Cased Images], a group of eight ambrotype portraits,

W 1168. [Cased Images], a group of five ruby ambrotype portraits,

including two quarter plates, “Child on Highchair” and “Two Gentlemen”; four sixth plates, two of seated couples, “Seated Woman with Book” and “Child in a Gothic Chair”, all in leather cases; and two ninth plates, “Man with Hat”, in a leather case, and “Woman with Lace”, in a resin case; together with “21 Year Old”, cased ceramic photograph, inscribed, in an oval case (9 pcs).

including three ninth plates, “E. Hazin”, inscribed, “Bearded Man With a Light Coat” and “Young Man”, two in leather cases, the latter in a resin case; a sixth plate “Seated Young Girl” in a leather case; and a sixteenth plate “Bearded Man”, in a leather case.


$200/300 W 1169. [Cased Images], a group of four sixth plate images,

W 1166. [Cased Images], a group of eight daguerreotype portraits,

including two quarter plates, “Portrait of Man and Child”, stamped “C.H. Williams/Brooklyn, N.Y.”, and “Bearded Man with Curly Hair”; and six sixth plates, “Older Man and Wife”, by William Shew, inscribed, “Two Sisters”, “Woman with Child”, “Woman in a Bonnet”, “Woman with Shawl” and “Young Man”, all in leather cases.

including a daguerreotype of a man with child, two ambrotypes of a seated woman and a young man, both hand-colored, and an enameled glass silhouette of three individuals; cased together in single “Faithful Hound” resin case. $150/250 W 1170. [Cased Image], a half plate ambrotype of a family of

seven, in a velvet lined leather case.


$100/200 W 1167. [Cased Images], a group of seven tintypes, including four

sixth plates “Seated Boy with Hat”, “Mr. C.A. Benson [and wife]”, inscribed, and two young children; a quarter plate of “Louis Stockman”, inscribed; and two ninth plates “Young Man and Woman” and “Juan Steigler, brother of Chas. Orlando Steigler”, inscribed en verso; all in leather cases. $300/500

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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


Adrien Barrere (aft.), 874 William Beechey (aft.), 758 Jacques N. Bellin, 108 Ernest J. Bellocq, 405 Joseph Bernard (Hans Zatzka), 129 George Caleb Bingham (Aft.), 192 H.L.S. Birkinshaw, 1118 Joey Bonhage, 1078 William Henry Buck, 335


Cao Zhongying, 637 George Frederick Castleden, 935, 942 James Wells Champney, 913 Chinese School, 622, 637 Richard Clague, 278 George Clare, 780 Eliot Candee Clark, 394, 934 George Henry Clements, 881 John Clemmer, 445 Isabel Cohen, 1063 Clyde Connell, 432, 433 Nancy Conrad, 1062 Continental School, 20, 779, 784, 823, 988, 1013, 1156, 1157, 1159 Giuseppe Corelli, 492, 493 Francis Cotes (attr.), 518 George David Coulon, 393 Thomas Bigelow Craig, 198 Robert Cusner, 1125


Moritz Michael Daffinger, 495 Salvador Dali, 868 Horace Day, 350 Elliott Daingergield, 275 Joseph Emmanuel Descomps-Cormier (aft.), 887 Alexander John Drysdale, 719, 1066, 1113 Raoul Dufy, 869 Dutch School, 821 L. Dupre, 1155 Ambrose Duval, 918


A.L. Eckardt, 751 Auguste Edouart, 322

English School, 21, 536, 752, 989 English or American School, 865 James Guy Evans, 321

W.H.D. Koerner, 1067, 1108 Ida Rittenberg Kohlmeyer, 375, 384 Kuhn, 1116

Robert Rucker, 1110 Harold Rudolph, 931 Russian School, 1117




Mignon Faget, 389 Joseph Giuseppe Fagnani, 914 Manuel Barra Felguerez, 884 John Kelly Fitzpatrick, 378, 436 Emmanuel Fremiet (aft.), 139 French School, 18, 128, 520, 545, 781, 785, 874, 1014 Meta Vaux Warrick Fuller, 430


Cal Gaspard, 1064, 1065 George Gay, 696 John Geldersma, 885,886 German School, 1161 Charles Dana Gibson, 944 Emma S. Gilchrist, 318 Charles Giroux, 95 Anne Wilson Goldthwaite, 379, 444 Salvador Gonzales-Escalona, 876,877 John Gould, 229, 230, 233 Robert Wadsworth Grafton, 380, 932 Marco de Gregorio, 126 Louis Oscar Griffith, 398, 936,937, 940 Antoine-Jean, Baron Gros, 138 Jean-Urban Guerin, 494


Richard Hall, 1012 Peter Halley, 897 H. Hartley, 16 Charles Field Haviland (attr.), 1061 Frank Hayden, 440 Colette Pope Heldner, 280, 720, 1141, 1142 Knute Heldner, 319, 376, 900 Gertrude Hermes, 782, 871 Jules René Hervé, 1015 Morris Henry Hobbs, 917 Sedrick Huckaby, 1085 Clark Hulings, 941 Marie Atkinson Hull, 435, 901 Clementine Hunter, 317, 395, 697 Alfred Heber Hutty, 274


Sadie Irvine, 399 Jean-Baptiste Isabey, 17 Italian School, 468, 973


Antonio Nicolo Jacobsen, 320 Luis Alfonso Jimenez, Jr., 1097, 1098 Frances Benjamin Johnston, 1074 Nell Choate Jones, 386 Lillian Jonte, 1093 Keith Joubert, 1140


Max Kahn, 1115 Alberta Kinsey, 348, 447, 905 Joseph Day Knap, 1109

Martin Laborde, 1091 Evgeni Alexandrovitch Lanceroy (aft.), 455, 456 Aimable Desire Lansot (attr.), 313 Clarence John Laughlin, 406, 408 Thomas Lawrence (mann.), 824 Myron Lechay, 895 Jean Louis Lefort, 1039 Joyce Linde, 1077 Brock Loper, 1096


Luca Madrassi (aft.), 994 John McCrady, 397, 910, 943 McKenney and Hall, 96 James Augustus McLean, 896 John Roderick Dempster MacKenzie, 434 Joseph Rusling Meeker, 93 Joseph Rusling Meeker (aft.), 209 Geneva Mercer (aft.), 890 Otto Merkel, 866 Anthony Meucci, 415 Jack R. Meyers, 909 James Michalopoulos, 1068 Hirst Dillon Milhollen, 1076 Clarence Millet, 349, 381, 382 Jules Moigniez (aft.), 1029 R. Monti, 69 Henry Moore, 870 Elemore Madison Morgan, Jr., 898899


S. Navarro, 345 David Sinclair Nixon, 879


Charles Paillet (aft.), 993 Cordray Parker, 431 Stephen Maxfield Parrish, 281 Achille Perelli, 441 Charles Theodore Perrone (aft.), 458 Marie Adrien Persac, 314 Niek van der Plas, 1038 Valentine Cameron Prinsep, 778


Auguste Racinet (ed.), 781 Charles Henry Reinike, 1114 Charles Reussner (aft.), 891,892 Virginia Reynolds, 1158 Charles Whitfield Richards, 1087, 1088 Thomas Addison Richards, 277 Henry Constantine Richter, 229, 230, 233 Adolph D. Rinck, 915 Anne MacKinne Robertson, 446 Noel Rockmore, 385, 1084, 1094 George Rodrigue, 374, 902, 903 Victor Rousseau (aft.), 893

Janice R. Sachse, 1111 Andrew Sanders, 882 John Tarrell Scott, 1075 Tom Secrest, 443 Jean Seidenberg, 388 Adrian Wong Shue, 872 Hunt Slonem, 392 Marshall D. Smith, 904 Yngve Edward Soderberg, 883 J. van Soest, 15 Marion Sims Souchon, 279, 316 Southern Italian School, 127 Spanish Colonial School, 471, 491, 754 Lucy May Stanton, 933 Franciszek Starowieyski, 822 Will Henry Stevens, 387 Joseph Karl Stieler, 19 Meyer Straus, 337 Sun Tianmu, 618


Tang Yun, 622 Charles Foot-Taylor (attr.), 783 Alfred W. Thompson, 94 William Tolliver, 1095


Jean-Joseph Vaudechamp, 92 Carle Vernet, 12 George Louis Viavant, 212, 219, 220


T. Dart Walker, 1069 William Aiken Walker, 273, 334, 336 Wan Ding, 641 Wang Yeting, 630 Edward Mathew Ward, 521 Rea T. Waters, 1112 Andrew John Henry Way, 199 Eudora Welty, 407 Robert White, 1089 Edward Russell Whiteman, 911, 1070 Joseph Woodsen “Pops” Whitesell, 1099 Mel Wiken, 1092 Theodore Fonville Winans, 698-700 Mildred Nungester Wolfe, 906 William Woodward, 391, 400-402, 404 Henry Russell Wray, 377


Yi Zi Quing, 613 Mahonri Macintosh Young, 439

Wayman E. Adams, 907,908 Enrique Alferez, 442 American School, 211, 276, 916, 1068, 1152, 1160 American School/New Orleans, 210 James McConnell (Mac) Anderson, 437 Walter Inglis Anderson, 383, 403, 938,939 Ralph Moffett Arnold, 1090 Stanley Clisby Arthur, 912 John James Audubon, 97, 98, 197, 213-218, 231, 232 George C. Ault, 880 Austrian/German School, 753

November 20 & 21, 2010 ✹ artist index ✹ artist index ✹ artist index



Hans Zatzka, 519 Hans Zatzka (As Joseph Bernard), 129 Vettore Zanetti-Zilla, 13, 14

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 •

Auction Date: November 20 & 21, 2010

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, 11/17/10. 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, 11/17/10. 232

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, 11/19/10 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 10/12M

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, 11/19/10 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 235

Auction Results for September 2010 0001-$4421 0002-$657 0003-$597 0004-$717 0005-$2390 0006-$597 0011-$1434 0012-$1195 0015-$717 0016-$976 0017-$246 0018-$738 0019-$597 0020-$1673 0021-$488 0022-$1075 0023-$478 0024-$956 0025-$854 0026-$358 0027-$179 0028-$268 0029-$478 0030-$2868 0031-$836 0032-$615 0033-$1673 0034-$717 0036-$597 0037-$976 0038-$717 0039-$657 0040-$956 0041-$358 0042-$478 0043-$358 0044-$358 0045-$2748 0046-$1195 0049-$1912 0050-$2509 0051-$478 0053-$3585 0055-$1195 0056-$358 0058-$246 0059-$388 0060-$239 0061-$239 0062-$657 0063-$98 0065-$492 0066-$239 0067-$597 0068-$671 0069-$239 0070-$3321 0071-$122 0072-$984 0073-$1586 0074-$976 0075-$793 0076-$2460 0077-$2074 0078-$1464 0081-$836 0082-$854 0083-$427 0084-$298 0085-$836 0086-$836


0087-$488 0171-$1553 0253-$1434 0088-$537 0172-$10755 0254-$1314 0089-$676 0173-$2688 0255-$478 0090-$427 0174-$2868 0256-$492 0091-$896 0175-$10370 0257-$956 0093-$1586 0176-$5185 0258-$1015 0094-$244 0177-$3883 0259-$2031 0096-$793 0178-$2270 0260-$6100 0097-$366 0179-$2987 0261-$1553 0099-$922 0180-$6871 0262-$478 0100-$1912 0182-$10157 0263-$152 0101-$2270 0183-$5975 0266-$1015 0102-$2390 0184-$13145 0267-$1135 0103-$2390 0185-$7170 0268-$597 0104-$16730 0186-$5975 0269-$2318 0105-$9150 0187-$5377 0270-$1708 0106-$9560 0188-$3355 0271-$537 0107-$3585 0189-$1314 0274-$335 0108-$478 0190-$2684 0276-$1434 0110-$5377 0191-$2748 0277-$1434 0111-$3585 0192-$6572 0278-$427 0113-$1314 0193-$3346 0279-$427 0114-$2629 0194-$137425 0280-$2952 0115-$597 0195-$14340 0281-$1314 0116-$4270 0196-$2031 0282-$1135 0117-$10370 0197-$5490 0283-$597 0118-$4182 0198-$19120 0284-$16730 0119-$2151 0199-$2390 0285-$976 0120-$4780 0200-$22705 0286-$657 0121-$2214 0201-$21510 0287-$597 0122-$10157 0203-$40630 0289-$11053 0123-$1912 0207-$3660 0290-$3704 0124-$1075 0208-$9560 0291-$9560 0125-$4270 0209-$83650 0292-$1195 0126-$1830 0211-$1230 0294-$9560 0127-$2196 0212-$3943 0299-$1195 0128-$2688 0213-$83650 0300-$5676 0129-$1098 0214-$1792 0301-$1195 0130-$836 0215-$3883 0302-$15535 0131-$2987 0216-$2868 0303-$2987 0133-$7170 0217-$9150 0307-$3883 0134-$3585 0219-$4575 0309-$3585 0135-$537 0220-$9150 0310-$2987 0136-$32265 0221-$3965 0311-$2440 0138-$3585 0222-$1792 0314-$4880 0140-$3585 0223-$9261 0315-$1553 0141-$366 0224-$9261 0317-$2987 0142-$956 0225-$1195 0318-$1195 0143-$1673 0226-$1553 0319-$2509 0144-$956 0227-$9261 0321-$5078 0145-$1673 0228-$6405 0322-$2987 0146-$4780 0229-$2031 0323-$298 0148-$1075 0230-$2031 0324-$1434 0149-$8540 0231-$20315 0325-$3107 0150-$2390 0232-$19120 0326-$7170 0152-$8365 0233-$4026 0331-$1586 0154-$3286 0234-$657 0332-$2987 0155-$8066 0235-$1845 0335-$3585 0156-$10157 0236-$1195 0336-$3286 0157-$956 0237-$328 0338-$1195 0158-$1673 0239-$4182 0339-$9261 0160-$3286 0240-$268 0340-$3585 0162-$5975 0242-$6457 0341-$5975 0163-$131450 0243-$3107 0342-$10456 0164-$11590 0244-$1553 0343-$3050 0165-$65725 0246-$1314 0344-$4780 0166-$836 0247-$7170 0345-$5078 0167-$21510 0248-$956 0346-$4182 0168-$1314 0249-$14340 0347-$717 0169-$14937 0250-$13145 0348-$597 0170-$7380 0252-$7170 0349-$1314

0350-$478 0351-$5078 0352-$1075 0353-$2629 0354-$358 0355-$184 0356-$1830 0359-$1195 0360-$597 0361-$2390 0362-$836 0363-$1553 0365-$717 0366-$1075 0367-$1673 0368-$1195 0369-$2688 0370-$2629 0371-$1195 0372-$3660 0373-$6572 0375-$4182 0377-$610 0379-$2629 0380-$8365 0382-$4182 0383-$3346 0384-$7468 0386-$4481 0387-$6405 0388-$1586 0389-$597 0390-$1314 0391-$776 0392-$597 0394-$4305 0395-$537 0396-$1912 0397-$2629 0398-$1314 0399-$1135 0400-$776 0401-$896 0405-$2509 0409-$1015 0410-$492 0411-$657 0412-$3883 0414-$537 0415-$3465 0417-$4780 0420-$478 0421-$427 0422-$1792 0423-$1314 0424-$1912 0426-$836 0429-$1792 0430-$1195 0431-$4636 0433-$3704 0435-$2151 0439-$854 0442-$610 0444-$717 0445-$717 0447-$3883 0448-$956 0449-$717 0451-$657 0452-$492

0453-$358 0457-$1830 0458-$183 0459-$2390 0461-$1314 0462-$1912 0463-$298 0464-$717 0465-$298 0466-$307 0467-$418 0468-$676 0469-$956 0472-$717 0473-$3585 0477-$10157 0478-$1912 0482-$478 0483-$239 0487-$246 0492-$717 0493-$597 0494-$676 0495-$149 0497-$522 0498-$1708 0502-$209 0503-$179 0504-$861 0505-$179 0507-$1230 0508-$478 0509-$4880 0510-$298 0511-$1553 0512-$597 0513-$268 0514-$597 0515-$1553 0516-$183 0517-$836 0520-$1045 0521-$239 0522-$239 0523-$119 0524-$328 0525-$239 0526-$119 0528-$183 0529-$122 0530-$119 0533-$239 0535-$83 0537-$153 0538-$657 0539-$59 0541-$59 0542-$1195 0544-$956 0545-$956 0546-$246 0547-$597 0548-$891 0549-$597 0550-$418 0551-$149 0552-$239 0553-$239 0554-$478 0556-$119 0557-$793

0558-$244 0559-$59 0560-$239 0562-$119 0563-$119 0565-$239 0566-$478 0567-$123 0568-$209 0569-$179 0571-$1075 0572-$732 0573-$884 0574-$209 0575-$298 0576-$793 0577-$119 0578-$537 0579-$209 0580-$239 0581-$239 0582-$268 0583-$518 0584-$478 0585-$746 0586-$276 0587-$307 0588-$179 0589-$246 0590-$276 0591-$427 0592-$549 0593-$488 0594-$119 0595-$776 0596-$793 0597-$388 0598-$461 0599-$507 0600-$268 0602-$119 0603-$388 0604-$119 0605-$418 0606-$358 0607-$335 0608-$418 0609-$597 0610-$244 0611-$153 0612-$579 0613-$488 0614-$553 0615-$388 0616-$215 0617-$59 0618-$123 0619-$119 0620-$328 0621-$239 0622-$522 0623-$4780 0624-$3346 0625-$418 0626-$1586 0628-$418 0629-$799 0632-$488 0633-$448 0634-$478 0635-$366

0636-$298 0638-$179 0639-$209 0641-$305 0642-$430 0643-$4182 0644-$1553 0645-$2390 0646-$1673 0647-$3226 0648-$388 0649-$149 0650-$122 0651-$276 0652-$1673 0653-$366 0654-$1015 0655-$179 0656-$298 0657-$209 0658-$298 0659-$298 0660-$328 0661-$358 0662-$478 0663-$478 0664-$430 0665-$209 0666-$358 0667-$298 0668-$488 0669-$358 0670-$717 0671-$209 0672-$298 0673-$246 0674-$298 0675-$553 0676-$47 0677-$149 0678-$268 0679-$179 0680-$1553 0681-$149 0682-$2629 0683-$298 0684-$2987 0686-$1830 0687-$836 0688-$984 0689-$4780 0690-$5676 0691-$298 0692-$179 0693-$239 0696-$418 0697-$3585 0698-$358 0699-$976 0700-$179 0701-$239 0702-$239 0702A-$183 0703-$183 0704-$478 0705-$179 0706-$1015 0707-$418 0708-$537 0710-$123 0711-$179

0712-$122 0713-$478 0717-$369 0718-$1493 0720-$4182 0721-$1792 0722-$328 0723-$179 0726-$732 0727-$3585 0730-$369 0732-$239 0733-$2390 0734-$1314 0736-$1792 0738-$836 0739-$2337 0740-$4305 0742-$4182 0743-$1586 0744-$268 0747-$2031 0748-$1195 0750-$5078 0752-$3883 0753-$12547 0755-$2688 0756-$11352 0757-$3286 0759-$597 0760-$1586 0761-$3286 0762-$11950 0763-$1220 0764-$2091 0765-$3997 0766-$2745 0768-$717 0769-$488 0770-$1553 0771-$836 0772-$2074 0773-$956 0774-$7320 0775-$1195 0777-$1464 0779-$1673 0780-$2151 0782-$836 0784-$717 0786-$836 0788-$1342 0789-$1342 0797-$2688 0798-$1792 0799-$3660 0800-$1599 0801-$4612 0802-$537 0803-$307 0804-$153 0807-$3585 0808-$209 0809-$478 0810-$366 0812-$152 0813-$246 0814-$246 0815-$657 0817-$956 0818-$298

0819-$657 0820-$298 0821-$717 0823-$1673 0824-$122 0825-$717 0826-$1098 0827-$307 0829-$1195 0830-$2031 0832-$2196 0834-$2196 0835-$615 0837-$2031 0838-$1075 0839-$657 0840-$2031 0841-$418 0842-$1135 0843-$793 0845-$915 0846-$1434 0848-$7170 0849-$956 0850-$1792 0853-$1434 0854-$1075 0856-$836 0857-$922 0858-$358 0859-$244 0861-$1135 0864-$86 0867-$123 0868-$184 0869-$597 0870-$478 0871-$153 0872-$183 0873-$615 0874-$492 0876-$246 0879-$184 0882-$492 0885-$369 0886-$246 0887-$209 0888-$209 0889-$179 0890-$799 0891-$369 0893-$2748 0894-$478 0895-$369 0896-$1314 0897-$717 0898-$239 0899-$610 0900-$488 0904-$179 0907-$2390 0909-$1075 0910-$1673 0911-$717 0912-$3585 0914-$1075 0915-$1195 0916-$799 0917-$478 0918-$836 0919-$956

0920-$307 0922-$597 0923-$1107 0926-$597 0927-$1830 0929-$1912 0930-$1708 0931-$1434 0932-$717 0933-$717 0934-$3286 0935-$1314 0936-$1195 0937-$597 0938-$2390 0939-$12547 0940-$610 0941-$1230 0942-$298 0945-$836 0947-$3585 0948-$1075 0950-$478 0951-$478 0952-$358 0954-$597 0956-$358 0957-$492 0958-$836 0961-$298 0967-$149 0968-$478 0969-$418 0970-$1314 0971-$1220 0972-$298 0973-$836 0974-$836 0975-$298 0976-$1195 0977-$418 0978-$149 0979-$366 0980-$836 0981-$956 0982-$597 0987-$122 0989-$239 0990-$418 0991-$1098 0993-$35 0994-$59 0995-$478 0996-$122 0997-$1075 0998-$597 0999-$1135 1000-$984 1001-$71 1002-$71 1004-$213 1005-$478 1006-$239 1007-$305 1008-$671 1009-$149 1010-$307 1011-$549 1013-$149 1015-$369 1016-$799

1017-$597 1018-$478 1019-$239 1020-$776 1021-$1195 1022-$799 1023-$1476 1024-$2806 1025-$366 1026-$47 1027-$676 1028-$298 1029-$1075 1033-$2390 1035-$537 1036-$597 1037-$537 1042-$98 1043-$153 1044-$183 1045-$553 1046-$488 1047-$671 1049-$152 1050-$2031 1052-$478 1053-$915 1054-$244 1056-$91 1058-$246 1061-$369 1062-$492 1063-$366 1064-$488 1065-$537 1066-$179 1067-$244 1069-$597 1070-$244 1071-$418 1072-$478 1074-$71 1075-$1464 1076-$149 1078-$358 1080-$239 1081-$597 1082-$268 1083-$396 1085-$149 1086-$427 1088-$836 1089-$183 1090-$183 1092-$1075 1093-$8365 1094-$4182 1095-$4182 1096-$2151 1097-$1434 1098-$3465

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 Rachel Weathers Director of Research Douglas Lewis, Ph.D., F.A.A.R. Director of Consignments, Books & Manuscripts Marc Fagan Director of Paintings, Prints & Photography Claudia Kheel 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


GRAPHICS Art Director Emory Nolan Catalogue Design Carolyn Finnell Photography Jason Leckert Terry Thibeau Tom Simpson

OPERATIONS Director of Operations Charles Lee Operations Staff Charlie Clay Leroy Hubbard Kelvin Gibson Jerry Majors

EXHIBITION STAFF Sybil Lawson Carolyn Wogan Cammie Mayer Clare Stewart Karolyn Westervelt Cecile Ballard Mimi Abbott

AUCTIONEERS 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 Decorative Arts & Victoriana Ann M. Masson Silver Carey Mackie-Alsobrook Furniture & Decorative Arts Doris Mollenkopf Newcomb Pottery & Decorative Arts Sally Main Fine Arts Ryan Miner


Neal Auction Louisiana Purchase Auction Nov 20 & 21  

Important 18th & 19th century furniture and decorative arts, historical material, estate jewelry, silver and Southern paintings especially c...