Browse By Lot Number
New Page 1
Browse By Category

Information below is the lot/description information from our Winter Estates Auction, February 23 & 24, 2008. Descriptions listed below are NOT guaranteed accurate. Call 1-800-467-5329 for general information on Neal Auction Company. Follow the catalogue link to order our beautifully illustrated catalogue.

You are at > Lots 1-100


1. Withdrawn

2. Dr. Robert John Thornton, Publisher (British, 1768-1837), "Pitcher Plant", hand-colored stipple engraving, by R. Cooper, published London, November 1, 1803, from The Temple of Flora, sight 19 1/4 in. x 14 1/4 in., attractively matted and framed. $800/1200

3. Dr. Robert John Thornton, Publisher (British, 1768-1837), "American Bog Plants", hand-colored stipple engraving, by Sutherland, published London, July 1, 1806, from The Temple of Flora, sight 20 in. x 14 3/4 in., attractively matted and framed. $800/1200

4. An Antique Engraving of Napoleon Bonaparte, 19th c., in his iconic pose, sight 13 in. x 9 3/4 in., in a velvet lined gilt frame. $200/400

5. After Joseph-Silfrede Duplessis (French, 1725-1802), engraved by Charles-Clement Balvay, called Bervic (French, 1756-1822), "Gabriel Senac de Meilhan", engraving on paper, signed and dated in plate lower right, sight 19 3/4 in. x 14 1/4 in., framed. $400/600

6. A Set of Four Chippendale-Style Backstools, each with padded arched back, Marlborough legs connected by stretchers, height 42 in. $300/500

7. An American Late Classical Mahogany Side Chair in the Gothic Taste, c. 1840, arched crest rail, vasiform splat, trapezoidal seat on urn-turned and blocked front legs, presented "in frame", height 32 in. $150/250

8. A Rare American Late Classical Carved Mahogany Metamorphic Dumbwaiter, mid-19th c., a graduated beaded and molded triple top supported by Gothicized shaft having a mechanical action, carved and downswept legs, height 28 in., width 27 1/2 in., depth 17 1/2 in. $1000/1500

9. A Fine American Rococo Carved Walnut Music Stand, mid-19th c., bears pressed brass label "C.D. Whitmore, Cor. Hayward Place and Washington St., Boston", reticulated gallery top, bas relief paneled cabinet with open sides, interior dividers, turned stiles; baluster support, four carved scrolling legs, brass casters, height 54 1/2 in., width 27 1/2 in., depth 14 1/2 in. $2500/3500

10. An English Mahogany Server in the Regency Taste, mid-19th c., the galleried top on massive baluster turned supports on a cabinet with two paneled doors, turned legs, cup casters, height 47 in., width 54 in., depth 20 in. $1000/1500

11. A Set of Eight Antique Federal-Style Mahogany Dining Chairs, late 19th c., New York, comprising six side chairs and two armchairs, the carved backsplat with pierced vase, topped by Prince of Wales feathers and festooned drapery, flanked by pilasters above a deep seat on square tapered molded legs ending in spade feet, height 36 1/2 in. $2500/3500

12. An American Federal-Style Mahogany Extension Dining Table, in the manner of Duncan Phyfe, the crossbanded top opening to accept five leaves, molded skirt, leaf carved urn shaped pedestals and acanthus carved saber legs with brass paw feet, height 29 in., closed length 60 in., with leaves 120 in., width 42 in. $2500/3500

13. A George III-Style Mahogany Secretary Bookcase, having a dentil molded cornice, astragal molded doors enclosing shelves, fitted escritoire drawer above short and long drawers on scalloped bracket feet, height 85 in., width 43 in., depth 20 in. $1200/1800

14. A Group of Five English and Continental Portrait Miniatures, 19th c., consisting of "Woman in Black", paint enhanced photograph, 3 1/2 in. x 2 3/4 in., framed; "Elizabethan Lady", on ivory, signed "Dimarc", 3 1/4 in. x 2 1/2 in., framed; "Young Girl with Brown Curls", signed "Smart", 3 1/4 in. x 2 1/4 in., framed; "Madonna", after "Madonna and Child" by Fra Filippo Lippi, on ivory, 2 3/4 in. x 2 1/4 in., framed; "Young Lady with Diadem", on ivory, illegibly signed, diameter 1 1/2 in., framed. $600/900

15. A Group of Six French and Continental Portrait Miniatures on Ivory, late 19th/early 20th c., consisting of "Madame de Pompadour", signed "Brittet", diameter 3 in., framed; "Demi-monde", 1 3/4 in., framed; "Elegant Lady", illegibly signed, dated "1907", 2 1/4 in. x 2 3/4 in., framed; "Woman in Plumed Bonnet", signed "C. de [?] Marc", 3 in. x 2 1/3 in., framed; "Woman with Shawl", 2 1/2 in. x 2 in., framed. Note: "Madame de Pompadour" has been repaired. $600/900

16. Ten Paris Porcelain Soup Plates, mid-19th c., polychrome floral decoration with French blue border, diameter 8 3/4 in. $250/350

17. Six Paris Porcelain Dessert Plates, c. 1850, polychrome floral decoration with raised gilt accents, diameter 7 1/2 in. $150/250

18. A Set of Twelve Bavarian Porcelain Raised Gilt-Decorated Service Plates, 20th c., white ground with deep rim entirely gilt with flower and leaf designs, marked "Bavaria" in underglaze blue, diameter 10 3/4 in. $200/400

19. A Pair of Danish Earthenware Roundels Molded in Relief with "Dawn" and "Night" After Thorvaldsen, 20th c., possibly Royal Copenhagen, marked copyright in Danish with artist "L. Hiorth", models 451 and 461, diameter 5 1/2 in. $150/250

20. An Antique Danish White Bisque Porcelain Figure of a Fisherman in Classical Garb, late 19th c., standing with net and basket with catch, marked copyright in Danish (Eneret), height 9 1/2 in. $100/200

21. A Fine Pair of Paris Porcelain Polychrome and Gilt-Decorated Ornithological Cabinet Plates, early 19th c., each marked in underglaze red "Rihouet / à Paris", bleu-céleste borders with floral reserves, both wells painted with exotic birds, each titled in black script: "Ara Jaune, Caraima du Paru" and "Le Paon blanc, l'Ophophore impey, de l'Imolaya", diameter 9 1/4 in. $800/1200

22. A Fine Paris Porcelain Gilt-Decorated Jardinière and Undertray, late 19th c., reticulated rocaille top, scroll handles, brilliant, well-preserved gilding, vessel with impressed mark "11", tray with impressed "3", vessel height 9 1/4 in., width 11 in., depth 7 in.; tray height 3/4 in., diameter 8 3/4 in. $800/1200

23. A Pair of Paris Porcelain Polychrome and Gilt-Decorated Plates in the "Gothick" Taste, early 19th c., each with impressed numeral and signed "Schoelcher" in rouge de fer underglaze script, the borders with bands of trilobe tracery, diameter 8 1/2 in. $1000/1500

24. A Large Meissen Porcelain Polychrome and Gilt-Decorated Serpent-Handled Urn, 19th c., underside marked with crossed swords and "219."(?) in underglaze blue with "2." in underglaze gold, pale yellow ground with large gilt-bordered floral cartouches front and back, scrolling handles issuing from acanthus sockets, height 19 1/4 in., width 13 in., depth 9 in. $1200/2000

25. An Antique Louis XV-Style Carved Fruitwood Metamorphic Chair or Chaise-de-Malade, 19th c., two part hinged winged back, scrolled acanthus carved arms, shell-carved straight seat with hinges, the whole opening to form a daybed, raised on cabriole legs upholstered in antique Aubusson, height 40 in., width 30 in., depth 19 in., "estate" condition. $800/1200

26. A Pair of Neoclassical-Style Fruitwood Poudreuses, each with hinged top revealing a mirror, the side compartments opening à mechanique, single cupboard below, height 32 in., width 23 in., depth 25 in. $1500/2000

27. A Good Pair of Continental Patinated Bronze Garniture Figures, mid-19th c., representing children reading a book and drawing geometric figures on a tablet, respectively, on molded elliptical marble plinths, height 11 in., length 10 in., width 5 in. $1000/1500

28. A Pair of Empire Gilt and Patinated Bronze Candlesticks, 19th c., each with molded bobêche above acanthus-decorated and laurel-banded neck, reeded stem, foliate cuff above tripod lion's paws on incurvate triangular base, height 9 3/4 in. $500/700

29. An American Classical Giltwood Mirror, early 19th c., Boston, the finely molded frame retaining original gilt surface, height 72 in., width 30 in. $1400/1800

30. A Neoclassical-Style Carved Giltwood, Gesso and Ebonized Mirror, probably mid-20th c., elaborate crest with winged griffins flanking an urn over a divided mirror plate, height 56 in., width 36 in. $700/1000

31. An English Copeland Parian Figure of "Egeria", a Roman Water Nymph, c. 1860, modeled by J. H. Foley, depicting a woman in classical drapery leaning on a tree stump, title inscribed on front face of base, height 23 in. $500/700

32. A Rare Baltic Neoclassical Giltwood and Geode Guéridon, mid-19th c., the geode slab of rose, black and rust colored concentric variegation retaining natural outline, held by four scrolled fluted columnar supports, incurvate plinth, scrolling feet, height 33 in., width 21 in., depth 21 in. $3000/5000

33. After Antonio Canova (Italian, 1757-1822), mid-to-late 19th c., a half-size replica of the "Venus Italica", white marble, height 42 1/2 in., width 11 in., depth 15 in. $2500/3500

34. A Fine American Classical Stenciled Mahogany Pier Table, c. 1825, New York, white marble top above fruit stenciled frieze with diapered banding, alabaster columns topped by gilt Ionic capitals, tapered pilasters flanking mirror back, incurvate plinth with banding, cornucopia brackets, massive verde antico hairy paw feet, height 36 in., width 37 in., depth 18 1/2 in. $8000/10000
Note: A mahogany pier table bearing a Meeks label in the Metropolitan Museum has stenciled urns on the frieze corners, an incurvate plinth with ovolo ends, and acanthus carved paw feet nearly identical to those in the lot above.
Reference: Tracy, 19th Century America, Furniture and Decorative Arts, pl. 68.

35. An American Late Classical Carved Mahogany Console Cabinet, c. 1830, Philadelphia, original white marble top over two ogee frieze drawers; lower serpentine drum cabinet with interior shelf and brass astragal molding, flanked by scroll supports with acanthine brackets and ovoid panels, molded and blocked plinth on square feet, original brass casters, height 43 1/4 in., width 66 in., depth 23 in. $4000/6000

36. An American Renaissance Carved Rosewood Center Table, c. 1870, the inset green marble top above a shell carved skirt, central baluster support, turned spindles, scrolled brackets and quadripartite scrolled feet with casters, height 28 1/2 in. $1200/1800

37. A Good English Cast Iron Fire Fender, c. 1830, reticulated scroll and anthemion frieze with conforming crests, bracket feet, height 9 3/4 in., width 42 1/2 in., depth 12 in. $1000/1500

38. An Antique French Tôle Peinte Lavabo, late 18th c., red ground with shield-shaped landscape scene, spout embellished with cast metal face among flowers, pagoda top with cut brass balustrade, height 18 in., width 11 1/2 in., depth 6 1/4 in., "estate" condition. $800/1200

39. A Good Louis XV-Style Giltwood Frame, with elaborate corner medallions between triple-molded rails, 58 in. x 49 in., now fitted with giclée-rendered historicizing scene of "Court Ladies Weaving Garlands", bearing inscription "Soufflé" at lower right, 48 in. x 36 in. $700/1000

40. A Group of Vienna Glazed White Porcelain Figures, mid-20th c., comprising a rearing stallion with well-detailed saddle and caparisons, height 8 3/4 in., length 6 3/4 in., a bust of the Virgin, with hands folded in prayer, height 7 3/4 in., width 5 in., and one loosely modeled after the Ancient "Horse-Tamers" on the Quirinal Hill, Rome, the muscular male figure depicted with a rearing stallion, height 17 1/2 in., length 14 in., all marked by the Augarten Factory, Vienna, "Made in Austria" and with model numbers. $1200/1800

41. A French Bronze Medallion from the Ship "Liberté", early 20th c., probably a souvenir for First Class passengers, original case and foundry mark, one side depicting the vessel with company information, the other a relief of Liberty breaking her chains, diameter 2 in. $300/500

42. A Decorative Silverplate Bouillotte Lamp, with adjustable shaft, single scroll candlearm, foliate scroll footed base, height 24 in. $500/750

43. A French Repoussé Parcel Gilt Silver Chalice, mid-19th c., bell-shape cup having a reticulated scrollwork overlay with three oval medallions representing faith, hope and charity, a knopped stem and a domed circular base also with oval portrait medallion alternating with the Christian symbols of the cross, wheat and bullrushes, height 13 in., width 17.20 troy ozs. $800/1200

44. An Extensive Crested Austro-Hungarian Silver Flatware Service for Twelve, early 20th c., probably Prague, by various makers, comprising 6 dinner forks, 12 luncheon/fish forks, 6 fish knives, 12 small starter/fish knives, 12 small starter/fish forks, 12 salad/dessert forks, 12 egg spoons with gilt bowls, 12 teaspoons, 12 after dinner coffee spoons, 2 tablespoons, 2 salt spoons, 2 skewers, 1 asparagus server, a fish serving knife and fork, a cake knife, a flat server, a smaller flat server, a butter knife, a gravy ladle, a sauce ladle, sugar tongs, serving spoon, strainer with gilt scalloped bowl, meat fork, approx. 96 pcs. of flatware and 19 serving pcs., combined weight 128.20 troy ozs. $2000/3000

45. A Cased Austro-Hungarian Silver Fruit Service for Six, late 19th c., probably Prague, including 6 forks and 6 knives with gilt blades, together with twelve Austro-Hungarian Art Nouveau silverplate teaspoons, marked "Art Krupp Berndorf". $150/250

46. An Antique Continental Silverplate Reliquary, surmounted by a cross, featuring angels and lilies on lion base, relic appears to be lacking, height 20 1/4 in. $500/750

47. Withdrawn

48. A Diminutive American Classical Bronze-Mounted and Carved Mahogany Sofa, 19th c., the finely carved back with foliate and fruit carved scrolls centering a shell carved tablet, cornucopia arms with feather carved supports, paneled seat rail with griffin and lyre mounts on dolphin-carved legs ending in brass dolphin heads, height 31 in., width 67 in., depth 21 in. $2500/3500

49. A Pair of American Gothic Carved Rosewood Side Chairs, mid-19th c., attributed to John Jelliff, Newark, NJ, spired crest with finials, padded back, deep trapezoidal seat, carved seat rail and square tapered legs ending in spade feet, height 50 in. $1200/1800
Note: A side chair in the Newark Museum collection, which is described as rosewood and descended in the Jelliff family, has carved lappets on the crest rail relating closely to those on these chairs.
Reference: Feld and Warren, In Pointed Style, the Gothic Revival in America, 1800-1860, p. 121-122, pl. 65.

50. An American Gilt Brass and Amethyst Glass Prism-Hung Four-Light Girandole, mid-19th c., central faceted floriform bouquet vase within a reticulated socket of Indian masks above two tiers of scroll arms with foliate-based candlecups, plain cross-faceted prisms and drops, height 21 1/2 in. $1000/1500

51. A Very Fine American Gilt Brass, Gilt-Decorated Blue Glass, White Marble and Cut Glass Solar Lamp, mid-19th c., tapered robin's egg blue standard with gilt vine-leaf and grape-cluster decoration, globular shade with Gothic arches and out-turned rim, clear glass chimney, burner mechanism intact, overall height 29 in., diameter 10 in. $2500/3500

52. An American Rococo Gilt Lacquered Brass Solar Lamp, c. 1850, Cornelius and Co., Philadelphia, the triangular tapering standard with ornate floral decoration surrounding floral basket, retains oval plate on front with "July 24, 1849" and is patent-dated April 1, 1843, now fitted for electricity and hung with prisms, appropriate replacement etched and clear glass shade, height 21 in., depth 8 in. $1400/1800

53. An English Gilt Bronze Zoömorphic Candlestick, mid-19th c., stamped "Abbott" (?), the standard composed of a stork clasping a fish in its bill and standing upon a tortoise, whose body is entwined with serpents (also entangled in the bird's legs), with foliate drip pan, height 14 in., diameter 4 in. $700/1000

54. An American Classical Mahogany Curule Stool, c. 1825-1835, New York, labeled "Chas Mc Auley, Fashionable Upholstery Store no. 68, Hudson Street, New York", the rectangular seat upholstered in needlework, the seat frame on curule supports, joined by a boldly turned stretcher, height 15 1/2 in., width 17 1/2 in., depth 13 in. $800/1200

55. An American Rococo Carved Walnut Bedstead, mid-19th c., Philadelphia or Baltimore, the arched scrolled crest centered with a pendant cluster of fruit and nuts with scrolling leaves and flowers to the sides, massive paneled headboard, scrolled uprights topped by anthemion finials, rounded low footboard, height 85 in., length 74 in., mattress width 62 in. $4000/6000
Provenance: A Louisville, Kentucky mansion.

56. An American Classical Giltwood Pier Mirror, c. 1843-50, labeled "From Williams and Stevens, 343 Broad-way, New York", the deeply molded frame retaining a bright original gilt surface, height 62 1/2 in., width 31 1/2 in. $1500/2500
Note: John H. Williams, operator of a frame and mirror shop at 315 Pearl Street in New York, entered a partnership with Linus W. Stevens in 1843. In 1848, the firm moved to Broadway Avenue, the address indicated on the label on the mirror featured above.

57. A Very Fine American Carved Giltwood and Gesso Mirror, mid-19th c., script label en verso "C.N. Robinson/ Carvers & Gilders/ No. 86 Chestnut/ Philadelphia", rectangular molded frame with applied vintage garlands and fishscale molding, height 45 in., width 30 in. $2000/3000

58. A Very Good Early Victorian Gilt-Decorated, Polychromed and Mother-of-Pearl Inlaid Papier-Mâché Work Table, mid-19th c., circular top with reserve of fern spray bordered by arabesques, scallop edge, original lavender silk and velvet interior, baluster standard, cabriole legs with scroll feet, height 28 in., diameter 18 in. $1200/1800

59. A Gothic Revival Gilt Brass Reliquary Stand, late 19th c., the crocketed finials above a later inset top, arched sides, spindled uprights and low shelf, height 35 in., width 13 1/2 in., depth 13 1/2 in. $400/600

60. A Rare Victorian Cast Iron and "Pearl Painted" Églomisé Tea Table, mid-19th c., probably English, the tilt-top centering a reserved cluster of grapes; iron foliate support, conforming quadrupedal base, height 27 in., diameter 21 in. $1000/1500
Note: "Pearl Painting" was introduced c. 1850. It was a technique in which flowers were painted on the reverse side of glass in a transparent stain. The flowers were then backed with crushed tin foil to create a glimmery effect. Frances Lichten, Decorative Art of Victoria's Era, pgs. 157 and 165.

61. A Pair of Italian Grand Tour Walnut Tabourets, 19th c., dentil molded tops, vasiform supports connected by a shaped stretcher, shoe feet, height 16 1/2 in., width 22 in., depth 15 1/2 in. $800/1200

62. A Pair of Restauration Inlaid Mahogany Fauteuils Voltaire, c. 1830, tall incurvate padded backs and arms with scroll supports, baluster legs, brass cuffs, casters, height 41 1/2 in., width 25 1/2 in., depth 32 in. $4000/6000

63. A Set of Six Regency-Style Gilt-Incised, Carved and Ebonized Dining Chairs, comprising an armchair and five side chairs, each with scrolling padded back, padded seat, saber legs, armchair height 35 in. $1200/1800

64. A Continental Mahogany and Parcel Gilt Pier Table, probably c. 1910-1925, of Egyptian inspiration, white marble top, carved figural monopod supports on paw feet, incurvate plinth base, height 35 in., width 38 1/2 in., depth 16 1/2 in. $1200/1800

65. A Tropical Hardwood Campaign Chest, late 19th c., probably mahogany, the crossbanded top above six drawers on bracket feet, retaining original inset brass pulls, height 37 in., width 50 in., depth 20 in. $800/1200

66. A Fine Louis Philippe Mahogany Sécrétaire à Abattant, gris de St. Anne marble top, fall front, fitted maple interior, lower case with doors enclosing three cased drawers also faced in maple, height 57 1/2 in., width 38 in., depth 17 in. $2000/3000

67. Hans Rottenhammer (German, c. 1564-1625), "The Holy Family: Rest on the Flight into Egypt", oil on copper, unsigned, diameter 5 5/8 in., in a 19th c. gilt liner and frame, bearing traces of old labels (no. 225[?]) and inscriptions (no. 27; L. de Credi); frame 10 1/2 in. square. $10000/20000
Provenance: The family of Victor Umbright.
Note: This unpublished roundel appears to be one of the earliest works attributable to Hans Rottenhammer: it would evidently have been painted in his mid-twenties, at the very beginning of his eighteen-year sojourn in Italy. At the conclusion of his Munich apprenticeship with the Bavarian court painter Hans Donauer in 1588, Rottenhammer's immediate departure for Italy is documented by an allegorical drawing (now in Rotterdam) that is inscribed as having been composed in 1589 in Treviso, the mainland provincial capital of the Veneto. It is particularly noteworthy, in view of the figural forms and style of this tondo—and for the choice of Rottenhammer's earliest destination in Italy—that the principal Renaissance artist from Treviso had been Paris Bordone (1500-1571), who had worked extensively in Bavaria in the 1550s. It seems most highly likely, therefore, that young Rottenhammer had admired Bordone's numerous commissions in Bavaria, and had begun his Italian travels in Treviso for the purpose of studying other works by that master in Bordone's native town. That supposition is strongly supported by this early painting's figure of St. Joseph: its distinctively Venetian pose is very closely prefigured in two similar half-figures on a sheet of Bordone's drawings in the Victoria and Albert Museum, London, of which the most developed sketch is in fact labeled "Josef" in German, in apparently contemporary handwriting—thus reinforcing the possibility that Rottenhammer might actually have known that Bordone drawing at first hand (or also, indeed, even been acquainted with the painting of this same subject of The Rest on the Flight that Bordone had developed from it, which is now in the Berenson collection at Villa I Tatti, Florence).
Rottenhammer is documented as having interrupted his Venetian sojourn of almost two decades with a five-year residence in Rome, from 1591 to 1595. It is usually maintained that he began his characteristic painting on copper only there, in c. 1593, because of contacts in Rome with his future collaborators Jan Breughel the Elder (1568-1625) and especially Paul Bril (1554-1626), whose first documented use of copper as a more stable and finely-surfaced pictorial support dates from 1592. But an equally important Venetian acquaintance with the generation-older Paolo Fiammengo (c. 1540-1596, active in Venice from c. 1578 until his death) was clearly crucial to the formation of Rottenhammer's pictorial style; so that a tentative hypothesis of his precocious use of copper there (which, after all, had been a support with a long, if sporadic, history of use among Italian painters) should certainly not be discounted.
Indeed Rottenhammer's earliest biographer, the famous Carlo Ridolfi (in his Maraviglie dell'arte (Venice, 1648), wrote at the outset of his notice that "This artist came in his youth to Venice, and set himself to draw from famous paintings (such as those by Tintoretto at San Rocco), through which he developed an excellent style, becoming a capable master. At the very beginning of his career he painted small subjects on copper, which dealers frequently sold for low prices; but as his skill grew, he was much in request among great patrons, for whom he painted impressive works." The open question as to how copper came to be so widely used among the Northern artists active in Rome in the early 1590s may thus perhaps owe more than is usually acknowledged to the arrival there in 1591 of Hans Rottenhammer, one of the eldest of that famous circle, who was certainly one of the earliest and most influential artists to paint consistently on copper. (In that role, in fact, Rottenhammer is often best remembered as the Venetian teacher of the celebrated Adam Elsheimer [1578-1610], in 1598-1600.)
The present small tondo of The Rest on the Flight not only exactly matches Ridolfi's description of Rottenhammer's earliest piccioli rametti a bottegai ("small copper plates painted for the trade"), but also combines a close reminiscence of the St. Joseph from Bordone's figure in the same scene, with many further echoes of Bordone, Titian, and other masters of Venetian Renaissance painting. This central seated Virgin, holding on one knee a quite unusually large-scale Christ Child in a similarly upright posture, is precisely paralleled in a Bordone Rest on the Flight lately with Galerie Canesso, Paris (Art Newspaper, September 2003): that picture, in turn, essentially reverses the even more upright pose of the Virgin in Titian's Madonna and Child with the Baptist and St. Catherine in a Landscape (National Gallery, London). The almost backward-tilting stance of this St. Joseph, with his head cocked back over one shoulder, is identical (in reverse) with the pose of Rottenhammer's close friend Palma Giovane, in his well-known Self-Portrait of c. 1590 in the Brera, Milan. Many other echoes and reminiscences connect the three figures in this roundel with prominent prototypes in Venetian late sixteenth-century painting—particularly in the works of Jacopo Tintoretto and Paolo Veronese, whom Rottenhammer is known to have studied with particular assiduity (most especially through his copy, at Vienna, of Veronese's Martyrdom of St. George, which he changed only by the addition of another sharply turning, over-the-shoulder-glancing figure along one edge).
Notwithstanding such a characteristic grounding in Venetian art, however, this jewel-like early masterwork is a capsule harbinger of the classic compositions from Rottenhammer's long Italian sojourn. It displays his highly typical arrangement of a central figure group silhouetted against solidly dark, large-leaf foliage, contrasting with a lighter "river" of space articulated in bluish-green atmospheric perspective, and bordered on the opposite side by more delicately feathered foliage, in a yellow-highlighted reprise of the same cool, almost silvery palette. That compositional pattern is repeated, with these same roses above and below the classically-draped seated figure, in Rotten-hammer's Flora, a copper painting of similarly small size (8 ¾ x 6 ½ in.); as well as in his masterly Daughters of Cecrops, another small copper (9 ½ x 9 in.) with congruent physiognomies, drapery, and coloring, and many of the same foreground still-life details, including even a version of this same circular basket (sold Phillips, London, 14 December 1999, lot 27). This Virgin's upright posture is a standard feature of several of Rottenhammer's Venetian-period drawings; this Child's somewhat unusual pose is repeated in various versions of the painter's Virgin and Child with the Infant St. John, as well as centrally in his superb Feast of the Gods (sold Sotheby London, 3 July 1997, lot 66); while this St. Joseph finds an exact cognate in Rottenhammer's Virgin and Child with SS. John Evangelist and Francis (sold Christie's, London, 18 April 1997, lot 111).
References: Carlo Ridolfi, Le Maraviglie dell'arte, 2 vols. (Venice, 1648; repr., Rome, 1965), 2: 76-77 (repr. pp. 84-85); Keith Andrews, "Rottenhammer, Hans (Johann) I," in Dictionary of Art, Jane Turner, ed., 34 vols. (London, 1996), 27: 227-229; Michael K. Komanecky, et al., Copper as Canvas, exh. cat., Phoenix Museum of Art (Oxford, 1999).

68. Jan Lievens the Elder (Dutch, 1607-1674), "A Military Commander, perhaps Friedrich Wilhelm, the Great Elector of Brandenburg", c. 1654/1664, oil on canvas, unsigned, 47 in. x 39 in., in a fine antique giltwood frame, the reverse of the top rail bearing a vintage label of Thomas Agnew & Son, Bond Street, London. $7000/10000
Note: This exceptionally fine and monumental portrait is one of the mature masterworks of Jan Lievens, who is often principally remembered as the youthful associate or partner of Rembrandt van Rijn (1606-1669). After an astonishingly precocious apprenticeship in his native Leyden (c. 1615-1617), Lievens became a pupil of Peter Lastman in Amsterdam (c. 1619-1621); his earliest surviving works date from c. 1625, and it was from that year until 1628—then continuing more loosely until 1631—that he was intimately associated with Rembrandt, in Leyden. In 1632-1635 Lievens was in England, where he evidently knew the Stuart court painter Sir Anthony Van Dyck (1599-1641), and absorbed major elements of his style; he next worked in Antwerp, 1635-1644, then moved to Amsterdam for the final thirty years of his life, with sojourns at The Hague in 1650 and 1670, as court painter for the Elector of Brandenburg in Berlin (1654-1655) and Cleves (1664), as well as with further work in Leyden in 1670-1672. In addition to his early importance as a history painter, and his later eminence as a portraitist—in which he was one of the preeminent Dutch masters of the 17th century—he was also an exceptional draftsman and printmaker (as was Rembrandt, with whom Lievens shared his earliest experiences in engraving, during their first years together in Leyden).
This life-size, three-quarter-length portrait depicts a military gentleman or nobleman, splendidly dressed in a lavish costume including a russet-lined cape with a matching sash, and an embossed leather bandolier supporting a ceremonial sword; he holds a stout walking-stick (or commander's baton) in his right hand, and leans his left elbow on the parapet of a heavy stone balustrade, above which a Tuscan column rises behind his shoulder; a highly unusual view of a distant avenue, punctuating a dimly-glimpsed townscape with a large three-dormered building, recedes toward a cloud-banked horizon. The large size of the canvas and many of these compositional elements are most closely matched in Lievens' "fancy portraits" of the 1630s. His "Young Man in a Golden Gown" at Edinburgh (c. 1632), of almost identical dimensions, features the same heavy staff, in the same position; while Lievens' celebrated "Self-Portrait", at the National Gallery London (c. 1638), presents an analogous costume—a russet gown with prototypes for these sleeves—and pose, especially in the hidden, back-turned left hand (a standard borrowing from Van Dyck); the painter/sitter's left elbow, there again, rests on another version of the same heavy stone balustrade, which (with similarly dark masonry at the upper left) frames a wide view of a distant park, with a diagonal line of trees receding beneath a matching sky, identically silhouetting the sitter's head.
The specific flared sleeves of this costume, however, especially in conjunction with the sitter's unusual French jabot or neckpiece, suggest a date just after the middle of the century. A painting by François Lemaire of 1645 in the Musée de la Monnaie, Paris (which may be said to announce the fashion) shows King Louis XIV as a boy, in a shirt with this same jabot and sleeves; over the next two decades the sleeve style became less frequent, while this form of neckpiece was increasingly adopted by military members of royal families throughout Europe. Such a soldierly style of neckware appears to have been almost unknown in Holland during the careers of major portraitists such as Frans Hals (died 1666) or Lievens himself: it seems to emerge in Dutch medals, for example, only in the 1670s. Since on the other hand it was widely worn by members of ruling families elsewhere in Europe from the late 1640s onward, there is thus a strong presumption that this Lievens portrait is more likely to depict a noble sitter from one of his German sojourns—most persuasively the "Great Elector," Friedrich Wilhelm of Brandenburg (1620-1688). That prince was the son-in-law of one of Lievens' principal patrons in Amsterdam, and (with his Dutch consort) employed Lievens at Berlin and Cleves, intermittently across the decade of 1653/4-1664. The possibility that this extremely important picture might represent the Great Elector is heightened by the apparent glimpse beyond the parapet of a civic avenue (an exceedingly rare motif in Dutch portraits of this type)—perhaps most plausibly to be interpreted as a reference to Frederick William's substantial works of architectural improvement in Berlin, Oranienburg, and Potsdam.
A dating of this portrait to the period of Lievens' long sojourn in Berlin (1653/4-1655) is borne out by close correspondences between it and his well-known "Portrait of a Man" (with an almost identical physiognomy) of c. 1650, in the Fogg Art Museum, Harvard University, as well as with "An Officer of the Civic Guard of Amsterdam (?)" of c. 1650/1655, in the Louvre, Paris (a painting with an ancient provenance from Les Granges de Port-Royal). Lievens' "Portrait of a Young Man in a Red Cape" of the middle or later 1650s, in Wawel Castle, Krakow, offers interesting parallels in the richness of the drapery; while his engraved portrait of "François Sylvius," signed and dated 1657—together with strong similarities of pose, gesture, costume, and features—provides the notable analogy of a cognate architectural setting (including another three-windowed building glimpsed in the right distance, beyond a parapet, with another columnar element framing the composition behind the sitter's shoulder at the left).
References: Rüdiger Klessman, ed., Jan Lievens: ein Maler im Schatten Rembrandts (Braunschweig, 1979); Eric Domela Nieuwenhuis, "Lievens, Jan", in Dictionary of Art, Jane Turner, ed., 34 vols. (London, 1996), vol. 19, pp. 347-350.

69. William Moore of York (British, 1790-1851), a pair of portraits of "A Lady" and "A Gentleman", pastel, pencil and chalk on paper, gentleman's signed and dated lower left "M. Moore, 1844", sight 20 3/4 in. x 15 1/4 in., in antique beveled oak frames. $800/1200

70. English School, early 20th c., "Bristol: The Old Town Gate" and "Great St. George's Street with Bristol Cathedral in Background", watercolors on paper, both signed indistinctly lower right, each 10 in. x 7 1/4 in., in matching period giltwood frames, both bearing early 20th c. dealer's label of James McClure & Sons, Glasgow, en verso. $300/500

71. English School, 19th c., "Shore of Devon", watercolor on paper, inscribed "Branscombe, Devon", sight 5 1/2 in. x 8 7/8 in. $700/1000
Provenance: From the collection of John Anderson, Jr. (author of The Unknown Turner, 1927); Gimbel Brothers, New York; Private collection.

72. After Giovanni Battista Piranesi (Italian, 1720-1778), "Veduta del Romano Campidoglio con Scalinata che va'lla Chiesa d'Araceli", c. 1740s, from the compendium Vedute di Roma (Rome, issued serially from c. 1748 to c. 1778), etching and drypoint on contemporary paper, signed lower right, plate size 15 in. x 21 in., handsomely matted and framed. $1800/2500
Provenance: Donald A. Heald, New York.
Reference: John Wilton-Ely, G.B. Piranesi: The Complete Etchings (San Francisco, 1994), vol. 1, p. 190, cat. no. 147 (Focillon 1918 no. 807, Hind 1922 no. 38, Calcografia 1953 no. 759).

73. After Giovanni Battista Piranesi (Italian, 1720-1778), "Veduta del Campo Vaccino", c. 1760s, from the compendium Vedute di Roma (Rome, issued serially from c. 1748 to c. 1778), etching and drypoint on contemporary paper, signed lower right, plate size 15 in. x 21 1/2 in., in a modern frame. $1200/1800
Provenance: Donald A. Heald, New York.
Reference: John Wilton-Ely, G.B. Piranesi: The Complete Etchings (San Francisco, 1994) vol. 1, p. 276, cat. no. 233 (Focillon 1918 no. 748, Hind 1922 no. 100, Calcografia 1953 no. 762).

74. After Giovanni Battista Piranesi (Italian, 1720-1778), "Veduta della Basilica e Piazza di S. Pietro in Vaticano", c. 1740s, from the compendium Vedute di Roma (Rome, issued serially from c. 1748 to c. 1778), etching and drypoint on thin whitened or bleached paper, signed lower right, plate size 15 in. x 21 1/4 in., handsomely matted and framed. $800/1200
Provenance: Donald A. Heald, New York.
Reference: John Wilton-Ely, G.B. Piranesi: The Complete Etchings (San Francisco, 1994), vol. 1, p. 179, cat. no. 136 (Focillon 1918 no. 787), Hind 1922 no. 3, calcografia 1953 no. 687).

75. A Fine French Polished and Patinated Bronze Urn with a Bas-Relief Frieze of Priestesses Offering Sacrifices, late 19th c., the base inscribed "F. Barbedienne", doubled-horn handles in the form of grotesque masks, the collar, stem and socle with ornamental moldings, on a beveled bronze base above a variegated black marble plinth, now mounted as a lamp, height 16 in., base plinth 7 in. square. $1500/2000

76. A Fine Continental Brass and Cut Glass Four-Light Chandelier, having a ring of twisted brass wires supporting candlecups and pendant glass drops and connecting numerous crystal swags, height 25 in., depth 18 in. $3000/4000

77. A Pair of English Gilt Bronze Figural Candelabra, mid-19th c., of a Levantine man and woman, seated on cushions with their arms outstretched and holding urn-form candlecups, on white marble bases, height 12 in., width 11 in. $4000/6000

78. An English Parian Bust of a Woman, mid-19th c., with elaborate coiffure and stand-up collar with strapwork motifs, marked on back "Paul Duboy" (French, 1830-1887), unidentified applied mark, height 23 in. $800/1200

79. An English Robinson and Leadbetter Parian Portrait Bust of Pope Pius IX, c. 1870, modeled by Johannes Matthus Mohr (1831-1903), depicted in papal costume, marked "Registered May 7, 1869, Pub. J. Marrett, J. M. Mohr Scr", height 12 in. $500/800

80. A George II Carved Giltwood Console, mid-18th c., with red campan griotte marble top, Vitruvian scroll carved frieze, raised on acanthus carved, scrolled cabriole legs to the front, guilloche carved supports to the rear, ending in massive paw feet, height 37 1/2 in., width 60 in., depth 29 in. $5000/7000
Note: The massive proportions of the scroll legs and the use of oversized "money" guilloche molding on this table are similar to those on a side table designed by William Kent (1684-1758) for the Earl of Burlington, and formerly at Devonshire House, Picadilly.
Reference: Brackett, English Furniture Illustrated, p. 198, pl. CXXXII.

81. A William IV Kingwood and Gilt-Bronze-Mounted Collector's Cabinet, early 19th c., with inset brown tooled leather top, gilt bronze moldings throughout, height 49 1/4 in., width 24 1/4 in., depth 19 1/2 in. Note: missing cuffs. $2500/3500

82. Withdrawn

83. A Regency-Style Rosewood Chiffonnier, c. 1920-1930, two tiered case with brass grille doors below, the back with painted silhouettes, on "French" feet, height 46 in., width 22 in., depth 11 in. $500/700

84. A Fine Pair of George III-Style Mahogany and Brass Inlaid Bookcases, shelved superstructure with brass galleries above cupboards below, on modified bracket feet, height 75 1/2 in., width 27 1/2 in., depth 17 1/2 in. $7000/10000

85. A Very Fine Italian Pietra Dura Table Top, late 18th/early 19th c., probably Florence, of octagonal form inlaid with musical trophée, lilies, butterflies, and fruiting boughs, diameter 29 in.; together with an associated American late classical rosewood table, New York, having a faceted column, on four downswept blocked legs, recessed brass casters, height 29 in. $4000/6000

86. A Rare English Gothic Revival Patinated Brass and Etched Glass Solar Lamp, mid-19th c., bearing Royal Warrant and marked "Days Patent", tapered standard with superimposed sheathings of Gothic arches, crockets and tracery, globular shade with lobes and downturned rim, burner intact, overall height 29 1/2 in. $2000/3000

87. A Fine Pair of English Gothic Revival Patinated Brass Telescoping Table Screens, mid-19th c., each bearing Royal Warrant and marked "Days Patent", inner cylinders with green silk fans, standards sheathed with Gothic arches, crockets and tracery, height closed 9 1/2 in., en suite with preceding lot. $1000/1500

88. A Pair of Gothic Revival Patinated Bronze Spill Vases, mid-19th c., each with three vignettes of Noah's dove in laurel-branch reserves between arched and crocketed borders, height 4 1/2 in. $400/600

89. A Fine Pair of American Rococo Lacquered and Gilt-Decorated Side Chairs, mid-19th c., finialed spindle stiles, arched pierced crest, oval floral painted back, serpentine seat retaining original needlepoint upholstery on cabriole legs, the whole with gilt tracery accented by green, red and brown decoration in an excellent state of preservation. $1200/2000

90. An Interesting Pair of American Gothic Carved Walnut Slipper Chairs, c. 1850, Philadelphia or Baltimore, the reticulated arched backs with rocaille carving, serpentine seat, carved and scrolled front legs, height 36 in. $1500/2500
Note: A carved chair described as rosewood, once part of a suite of four, from the collection of Frank Brozyna, nearly identical to the pair in this lot, is illustrated in Howe and Warren, The Gothic Revival Style in America 1830-1870, p. 27, pl. 43.

91. An American Classical Carved Mahogany Sofa, c. 1825, Boston, after a design by Thomas King, indented crest rail with foliate scroll ends, tall molded and outswept arms with bolster bases, ogee seat rail, melon feet, casters, height 38 in., width 94 in., depth 25 1/2 in. $2500/4000
Note: Born in 1790, London upholsterer and engraver Thomas King produced 28 English furniture design books between 1822 and 1848, many in heavy use in Boston, New York and Philadelphia. The distinctive cresting, arms and seat rail on lot 91 can be found in sofa designs on the cover plate and figures 6-8 in Smith, Thomas King, Neo-Classical Furniture Designs, reprint of "Modern Style of Cabinet Work Exemplified" 1829.

92. An American Classical Carved Mahogany Pier Table, early 19th c., Boston, a later "Egyptian" marble top, molded ed skirt on finely scrolled supports, incurvate plinth, and paw feet, height 35 1/2 in., width 44 in., depth 21 in. $4000/6000

93. A Small American Classical Mahogany Sideboard in the Sheraton Taste, c. 1820, pedimented backsplash, small drawers flanking dropped center above deep oval paneled drawer, flanked by bottle drawers, graduated cockbeaded drawers below on turned legs, height 53 1/2 in., width 49 in., depth 21 1/2 in. $1800/2500

94. A Regency Patinated and Gilt Bronze Solar Chandelier, early 19th c., the fluted upper shaft (between grapevine rosettes suspending gilt and molded bronze chains) over leaf and grape-decorated lower shaft, with acanthus-crested bell supporting three foliate arms, each with prism-hung circlets holding fluted reservoirs incorporating original burners and chimneys, retaining two globular etched and cut shades with modified Greek key bands, plus one associated smaller shade, height 28 in., width 23 1/2 in., depth 18 in. $4000/6000

95. A Fine Pair of Diminutive Continental Cut Glass and Brass Four-Arm Chandeliers, late 19th c., composed of tiers of small crystal beads and drops surrounding scroll arms with brass candlecups, height 12 in., depth 10 in. Note: Some missing glass elements. $2000/3000

96. A Regency Carved and Gilded Girandole Mirror, early 19th c., labeled on backboard "...Read Cower and Gilder...Manufacturer, Birmingham"; found in original state, rubbed and oxidized surface, finely carved eagle surmount, with pair of scrolling arms with gilt metal candle cups, height 35 in., width 21 1/2 in., depth 6 in. $2000/3000

97. A Regency Mahogany Breakfront Bookcase, early 19th c., molded cornice, glazed doors, the base with shaped paneled doors, blocked plinth, height 87 1/2 in., width 97 1/2 in., depth 17 1/2 in. $10000/15000

98. A Pair of Regency-Style Ebonized and Gilt Curule Armchairs, late 19th c., caned seats, height 36 1/4 in. $1000/1500

99. An Antique English Carved Rosewood and Gilt Brass-Mounted Canterbury, mid-19th c., reticulated dividers centered by a rocaille cartouche, drawer, turned legs and brass casters, height 19 in., width 21 in., depth 15 1/2 in. $1200/1800

100. A Pair of Victorian Needlework Banner and Gilt Metal Table Screens, mid-19th c., the fringed beadwork banners with designs of lilies beneath Gothic arches, silk reverses, hung from cruciform poles above embossed floral bases, height 20 in., width 9 1/2 in., depth 4 in. $500/700


Please review our Privacy Policy.
Copyright 2018 Neal Auction Company,
All Rights Reserved Worldwide.

4038 Magazine Street * New Orleans, Louisiana 70115 * 504-899-5329 * 800-467-5329