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Information below is the lot/description information from our Late Spring Estates Auction, June 5th & 6th, 2004. 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.  *Denotes image only available on-line.
You are at > Lots 301 - 400

301. An Antique Spanish or Spanish Colonial Mannerist Finely Carved and Polychromed Figure of a Conquistador, late 17th c., bearing a cask with original gilt and paint decoration throughout, the helmeted soldier with ornate uniform and cloak, a shaped box in one hand, (the other arm partially missing), on a rockwork base, height 53 in., width 18 in., depth 16 in. [$5000/7000]
302. A Louis XVI-Style Gilt Bronze and Frosted Glass Six-Light Chandelier, having an acanthus corona supporting three drapery swags looped around the necks of swans which hold a lobed frosted glass body, with reeded arms and floriform shades, electrified, height approximately 46 in., depth 23 in. [$2500/3500]
303. A Pair of Vintage Blown Glass Candle Lamps, on heavy square bases, the integral hurricane shades decorated with a band of etched and cut flowers, height 15 1/2 in., diameter 5 1/2 in. [$1200/1800]
304. An Antique Lead Figural Garden Fountain, of a putto frolicking, frogs at his feet, verdigris patina, height 38 in. [$1000/1500]
305. A Classical Bronze Bust, after the Antique, wearing a Roman garment, on a socle base, dark brown patina, height 30 1/2 in. [$1500/2500]
306. A Good American Gothic Walnut Mirror, mid-19th c., the narrow rectangular mirror plate within a molded frame, the pierced carved foliate crest issuing a spire decorated with crockets, height 59 in., width 15 in. [$1200/1800]
Note: The distinctive frame of this mirror, lot 306, relates closely to the well-known group of Gothic seating furniture often associated with the Siebrecht firm in New Orleans and the extensive group of Gothic furniture found at Stanton Hall, Natchez, Mississippi.

307. An Italian Parquetry Inlaid Neo-Classical Walnut Bureau, late 18th c., the strung top with scalloped slant front lid opening to writing surface and fitted with three scalloped doors above cross banded and strung parquetry drawers on molded base with bracket feet, height 40 in., width 52 in., depth 24 in. [$5000/7000]
*308. A Set of Four Antique Continental Rococo-Style Oak Dining Chairs, late 19th c., each with tall rectangular arched back and seat, scrolled carved seat rail ending in volutes, the cabriole legs with reeded foliate carved knees ending in pad feet, recently upholstered, height 40 in., width 17 1/2 in. [$900/1200]
309. An American Birdseye Maple and Maple Work Table in the Aesthetic Taste, late 19th c., Herter Bros., New York, the molded top opening to a mirrored satinwood fitted compartment, a drawer and pull-out work basket below, raised on reeded turned and blocked legs with medial turning and stretcher, height 30 in., width 28 in., depth 18 in. [$700/1000]
Note: A Herter Brothers side chair with similar legs is part of the Margery and Edgar Masinter collection, and was made for the James Goodwin residence in Hartford, Connecticut. The hardware on this table is identical to that seen in other Herter examples.
Reference: Katherine Howe, Herter Brothers Furniture and Interiors for a Gilded Age, pp. 175, 224.
310. A Pair of Provincial Louis XV-Style Carved Walnut Stools, the serpentine seats with sky blue velvet upholstery on scroll carved aprons with cabriole legs, height 20 in., width 16 in., depth 16 in. [$400/600]

311. A Fine Monumental Louis Philippe Rosewood Full Tester Bed, mid-19th c., by Prosper-Guillaume Durand Fils, bearing a brass plaque on the inside left rail “Durand Fils/R. du Harley no. 5 Paris/Ebeniste du Roi”, having an elaborate tester with scrolling crests centering rosettes on each side, lobed finials, square projecting corners with bead molding and an elaborate pendant reticulated Gothic fretwork, barley twist posts, the arched headboard with pierced scrolling crest centering a cabochon cartouche, the sleigh form rails with scrolled molded corners centered with a strapwork cartouche on a stepped plinth over large toupie feet, exterior height 138 in., width 65 in., length 87 in., interior width 58 in., length 77 in. [$30000/50000]
Provenance: This monumental bed descended in a well-known New Orleans family and was for many years the centerpiece of a celebrated collection found on Second Street near St. Charles Avenue in the Garden District.
Note: Prosper-Guillaume Durand was a member of the family of celebrated Parisian cabinetmakers including notable Louis Durand, who began the firm in the regime ancien and ascended to fame in the Restauration period. Prosper-Guillaume Durand succeeded his father and guided the firm through the mid-19th c.
312. A William IV Mahogany Trolley and Cabinet, c. 1830, with rectilinear backsplash, the turned supports resting on a cabinet containing a pair of paneled doors, the turned legs on casters, height 41 in., width 42 in., depth 18 in. [$1500/2500]
313. An American or French Carved Rosewood Dressing Table, mid-19th c., the arched molded mirror with floral carved crest supported by finely turned spiral uprights above a molded inset white marble top, the frieze drawer lined in satinwood, pendant drops at each chamfered corner, trestle base with turned supports, finialed stretcher and scroll feet, height 48 in., width 33 in., depth 18 in. [$3000/5000]
314. A Fine American Rococo Rosewood Mirror-Backed Dressing Chest, c. 1860, the arched mirror with a broken pediment surmounted by a cartouche, serpentine white marble top over four drawers on a shaped plinth and bracket feet, height 80 in., width 44 in., depth 21 in. [$2000/3000]
315. A Rare American Rococo Rosewood Meridienne, mid-19th c., attributed to John Henry Belter, New York, the curved seat back with a shell carved chest, the back inset with a pierced and carved panel, scrolled armrest, on a serpentine shaped skirt raised on scalloped bracket feet, height 41 1/2 in., length 74 in., depth 25 in. [$2500/3500]
Note: This meridienne is nearly identical to an example by J.H. Belter, in the collection of Richard and Eileen Dubrow. Reference: Richard and Eileen Dubrow, American Furniture of the Nineteenth Century, p. 120.
*316. George N. Drew (American, 1875-1968), “Hazy Morning”, oil on canvasboard, signed lower right, titled, signed and dated “November 20/64” on verso, inscribed “From George W. Drew, To Mary & Burmie, Dec. 25th ‘66” en verso, 12 in x 16 in., in a period frame. [$1000/1500]
317. Charles Ayer Whipple (American, 1859-1928), “Portrait of General Nelson Appleton Miles (1839-1925), oil on canvas, signed and dated “1895” lower right, 64 1/4 in. x 34 1/8 in., unframed. [$1000/1500]
Provenance: Berry-Hill Galleries, New York.
Note: A career soldier, Nelson Appleton Miles was regarded as knowledgeable, ambitious and controversial during his tenure in the United States Army. After a disagreement with Theodore Roosevelt over policy in the Philippines, the president referred to Miles as a “brave peacock.” Wounded four times and a veteran of many of the major battles of the Civil War, his commanders recognized Miles’ abilities and bravery and he rose swiftly through the ranks. As a commander in the Western Frontier, Miles achieved victories over the Cheyenne and Comanche and was instrumental in driving the Sioux under Sitting Bill into Canada.
The Washington D.C. artist Charles Ayer Whipple painted Lieutenant General Miles as a distinguished officer in full uniform with a gold sash, epaulets and numerous medals. An accomplished portrait painter, Whipple received numerous military commissions from the War, State and Navy Departments.
Ref: Arlington National Cemetery Website

318. Samuel Lovett Waldo (American/New York, 1783-1861) and William Jewett (American/New York, c. 1789-1874), pair of portraits of “Cornelius DuBois” and “Sarah Platt Ogden DuBois and their son George Washington DuBois”, oils on wood panel, both signed “Waldo and Jewett”, titled and inscribed en verso, dated “1829” and “July 26, 1827” respectively, 36 in. x 27 in. and 38 in. x 29 1/2 in., both in antique giltwood frames. [$3000/5000]
Provenance: A Jackson, Mississippi Estate.
Note: Around 1818, Samuel Waldo went into partnership with his talented student William Jewett. Their highly successful partnership flourished for over thirty years. They specialized in portraits of prominent New Yorkers and often signed their collaborative paintings as “Waldo and Jewett”.
Cornelius DuBois was a well-respected New York City lawyer. His wife Sarah Platte Ogden Dubois was the daughter of Robert and Sarah Platt Ogden. Sarah DuBois’ brother Roger Ogden IV practiced law in Charleston and eventually moved to Louisiana in 1821. Their son George Washington DuBois became an Episcopal priest.
*319. Continental School, 19th c., “Napoleon Seated in His Study”, oil on canvas, unsigned, 9 1/8 in. x 7 in., in period frame. [$500/600]
320. A Pair of American Classical Brass Andirons, c. 1800, each upright supporting a brass ball finial, the cabriole legs cast with spurs ending in a padded foot, original log stops and billets, height 15 in., depth 21 in. [$500/700]
321. A Group of Empire Fireplace Tools, 19th c., four brass and four wrought iron, including an American classical pair of tongs. [$150/250]
322. A Library Floor Globe on an Art Nouveau Bronze-Metal Stand, c. 1910, the 12 inch globe with 12 printed gores and metal hour discs at North and South Poles, held in full metal meridian with degree markings, horizon band with engraved paper calendar, zodiac signs, months and hours, on a tripod stand with outswept legs with foliate decoration and glass ball and claw feet, cartouche reads “12-Inch Bacon Globe, J.L. Hammett Co., Boston, Mass., Copyright 1910 by G.W. Bacon F.R.G.S., London”, height 37 in. [$800/1200]
323. An Antique Empire-Style Ebonized and Patinated Metal Fireplace, square with centered back, projecting pediment decorated with a pair of brass bullseyes centering a laurel leaf and berry bough, on a pair of Ionic columns, retains a round chimney, height 33 1/4 in., width 33 1/4 in., depth 19 1/2 in. without chimney. [$3000/5000]
324. An American Coin Silver Repoussé Ewer, James Charters, John Cann & David Dunn, NYC, wc. 1848-54, Robert Rait, retailer, wc. 1835-55, New York, marked “CC&D” in lozenge, pseudo hallmarks above “N.Y.” and “ROBERT RAIT” incised, lobed pyriform body on a pedestal base, floral repoussé circling wide part of the body, hollowcast scroll handle, engraved initial “T”, height 12 1/4 in., weight 21 troy ozs. 10 dwts. [$800/1200]
325. An American Coin Silver Cream Jug, Frederick & Felix Thibault, Philadelphia, c. 1830, family history inscribed on base “THIS BELONGED TO /HANNAH OWEN LEWIS/ 1795-1857/WHO MARRIED RICHARD WISTAR/1790-1863”, urn form on a stepped pedestal base, classical ovolo and bead borders on rim, pedestal and foot, applied foliate scroll and floral band encircling the body, hollowcast scroll handle, height 6 1/4 in., weight 12 troy ozs. 17 dwts. [$500/700]
326. An American Coin Silver Gravy Ladle, made in New York and retailed by Hyde & Goodrich, New Orleans, c. 1850, “Fiddlethread” pattern with French style shoulders, engraved initials on the upperface and on the reverse, marked “HYDE & GOODRICH” in a rectangle and with a curious mark, length 7 in., weight 2 troy ozs., 2 dwts. [$150/250]
327. An American Coin Silver Cheese Scoop, made in New York and retailed by Hyde & Goodrich, New Orleans, c. 1850, “Fiddlethread” pattern, with French style shoulders, engraved script initials “EMB” on the upperface, marked “HYDE & GOODRICH” in a rectangle and with a curious mark, long handle usually for Stilton cheese, length 9 1/8 in., weight 2 troy ozs. 19 dwts. [$250/450]

328. An Important American Coin Silver Compote in the Assyrian Taste, marked on the foot R. & W. Wilson, Philadelphia, wc. 1825-46, the circular lobed turreted body with lion’s mask rondels supported by central pedestal and three supports with relief of monarch and falcon, height 7 in., diameter 7 in., weight 38 troy ozs. 17 dwts. [$4000/6000]
Note: This design is likely inspired by Sir Auston Henry Layard’s excavation of the ancient city of Nineveh in the mid 1840’s.
329. An American Coin Silver Cup, c. 1845-50, by Wood & Hughes, New York, retailed by Hyde & Goodrich, New Orleans, marked on bottom “HYDE & GOODRICH” in rectangle and “W & H” in an oval, plain octagonal form with flared rim, beading at rim and foot, hollowcast, height 3 1/4 in., weight 2 troy ozs. 8 dwts. [$400/600]
330. A South American Sterling Silver Coffee and Tea Service, Peru, 20th c., with two-handled oblong sterling silver tray, each marked “INDUSTRIA PERUANA PLATA ESTERLINA/ 925 CAMUSSO”, comprising a coffee pot, teapot, covered sugar, creamer and waste bowl, plain squat pear shaped forms raised on scroll supports, hollowcast scroll handles, the plain rectangular tray with a shaped rim of foliate scrolls and shells, (6 pcs.), coffeepot height 10 in., tray 25 in. x 15 1/2 in., combined weight 156 troy ozs. (6 pcs.). [$1500/2500]
331. An American Coin Silver Presentation Cup, the bottom marked “PURE SILVER COIN”, in a rectangle, plain cylindrical form with applied molded lip and foot bands, hollowcast “S” scroll handle, engraved in script opposite the handle, “Albert Henry Minot/from his/Grandmother/T.A.M./1851”, height 3 3/4 in., weight 4 troy ozs. 8 dwts. [$150/250]
332. An American Sterling Silver Repoussé Round Powder Box, by Gorham, with original down puff and cover, engraved script initials on cover, height 3 in., diameter 4 1/4 in., weight 4 troy ozs. 18 dwts. [$150/250]
333. An American Sterling Silver Gravy Ladle, John Polhemus, New York, retailed by Tiffany & Co., c. 1853-68, oval thread pattern introduced c. 1840-50, engraved cypher monogram on the upperface, length 6 1/2 in., weight 2 troy ozs. [$100/200]
334. A Set of Four American Coin Silver Luncheon Forks, “Tuscan” pattern by William Gale, New York, introduced c. 1850, retailed by W. Kendrick, Louisville, KY, wc. 1810-1880, engraved in script “Hopkins” on the upperface, length 7 3/8 in., weight 7 troy ozs. 2 dwts. [$100/200]
335. Three American Coin Silver Dinner Forks, c. 1850, Cincinnati, Ohio, marked “KINSEY” incised, “fiddlethread” pattern with wavy shoulders, engraved on the upperface in script “Lizzie Pease”, length 7 3/4 in., weight 7 troy ozs. 7 dwts. [$75/125]
*336. A Pair of Southern Coin Silver Serving Spoons, Natchez, Mississippi, 2nd quarter 19th c., Emile Profilet, Natchez, wc. 1823-68, marked “PROFILET & JULIENNE” in a rectangle, down-curved fiddle typt handles with wavy shoulders and incised drops, engraved in script M.A.P. on upper face, length 8 1/4 in., weight 2 troy ozs. 17 dwts. [$400/600]
*337. An American Sterling Silver Fruit Bowl, Ferd, Fuchs & Bros., New York, N.Y., wc. 1884-91, two-handled oval footed form with embossed flower, shell and scroll sides and rim, height 2 1/2 in., length 12 1/2 in., weight 18 ozs., 17 dwts. [$300/500]
*338. An American Coin Silver Punch Ladle, Wood & Hughes, New York, retailed by J.A. L’Hommedieu, Mobile, 1839-1867, marked “W. & H.”, “J.A. HOMMEDIEU” each in a rectangle, “Fiddlethread” pattern, engraved script initials on the upperface, length 13 in., weight 5 troy ozs. 16 dwts. [$400/600]
339. An American Sterling Silver Reticulated Cake Stand, early 20th c., Redlich & Co., New York, N.Y., ornate rococo decoration, engraved script monogram, diameter 12 7/8 in., weight 27 troy ozs. [$400/600]
340. A Group of American Sterling Silver Tablewares, including a reticulated cake plate, diameter 9 in., a bonbon basket, a pin tray, diameter 8 in., and a posey vase, height 5 in., weighable 13 troy ozs. 18 dwts. (4 pcs.). [$250/350]
341. An American Sterling Silver Punch Ladle, by Manchester Mfg. Co., c. 1890, unidentified pattern, floral decorated handle terminal, engraved script initials on upperface, length 12 in., weight 3 troy ozs. 11 dwts. [$125/175]
342. An American Sterling Silver Flatware Service, “Francis I” pattern, by Reed & Barton, introduced 1907, comprising 12 dinner forks, 12 salad forks, 12 dinner knives, 12 bread & butter knives, (hh), 12 teaspoons and 12 demitasse spoons, weight 77 troy ozs. 12 dwts. (72 pcs.). [$1200/1800]
*343. An Antique Sterling Silver Flatware Service, Reed & Barton, “Hepplewhite” pattern, introduced 1907, monogrammed on upperface, comprising: 5 dinner forks, 6 dinner knives, 5 luncheon forks, 3 luncheon knives, 6 fish forks, 6 fish knives, 6 butter spreaders (fh), 6 iced beverage spoons, 17 teaspoons, 6 fruit spoons, 6 bouillon spoons, 5 cream soup spoons, 7 dessert spoons, 3 tablespoons and 6 chocolate spoons, (92 pcs.), approximate weight 96 troy ozs. [$1000/1500]
*344. An American Sterling Silver Presentation Cup, Gorham date symbol for 1881, inscribed Alice Emerson Hunn, cylindrical form with aesthetic bands, hollowcast handle, height 3 1/2 in., weight 5 troy ozs. 3 dwts. [$300/400]
345. An American Sterling Silver Meat Fork, William B. Durgin Co., “Essex” pattern introduced 1904, retailed by Bailey Banks & Biddle Co., Philadelphia c. 1904-05, engraved “F” on upperface, length 9 3/4 in., weight 4 troy ozs. 5 dwts. [$75/125]
346. A Good American Classical Mahogany Drop Leaf Work Table, c. 1815-25, the highly figured veneered top above a pair of fitted drawers retaining original brasses, the paneled corners above ring-turned and spiral tapering legs ending in ferrules, height 29 in., width 16 1/2 in. closed, depth 18 1/2 in. [$800/1200]
*347. A Set of Four American Late Classical Mahogany Chaise en Gondole, early 19th c., each with floral carved crest above a vasiform splat slip seat with sabre legs. [$700/1000]
348. George Peter Alexander Healy (American, 1813-1894, active New Orleans 1860-61), “Joseph Hume”, oil on canvas, signed and dated “1845” lower right, artist plaque on frame, 44 in. x 34 in., in an ornate period giltwood frame. [$3000/5000]
Note: George Peter Alexander Healy was a highly respected and successful portrait painter in both America and Europe. Encouraged by the great portrait artist Thomas Sully, Healy traveled to France and studied with Antoine Jean Gros. By early 1840s, Healy had become internationally renowned for his portraits of the French and English royal families. In America, Healy painted portraits of well-known figures including Abraham Lincoln, Daniel Webster, Louisa May Alcott and Andrew Jackson.
Educated as a doctor, Joseph Hume (1777-1855) became a wealthy businessman through his association with the East India Company. In 1812 Hume turned his attentions toward politics and was elected to British Parliament. A leader of the movement for universal suffrage, Hume also campaigned for religious freedom. G.P.A. Healy is known to have painted the portrait of Joseph Hume on two occasions. William Holl published an etching in 1840 based on Healy’s earlier portrait of Hume. In this portrait dated 1845, Healy depicts Hume as dignified elder statesman.
349. A Fine American Federal Inlaid Mahogany and Cherry Serpentine Front Chest-of-Drawers, c. 1800, the top with outset chamfered corners above conforming stiles flanking four long drawers, scalloped apron and “French” bracket feet, the whole with distinctive checkerboard inlay, cross banding and stringing, height 36 in., width 44 in., depth 22 1/2 in. [$5000/7500]
350. A Pair of American Late Classical Mahogany Sidechairs, mid-19th c., each with scalloped molded crest, vasiform splat seat and shaped seat rail with sabre legs. [$200/300]
351. Franco-Louisiana School, 19th c., “Portrait of a Young Man, Member of the Augustine-Wogan-Labranche Family, New Orleans”, oil on canvas, unsigned, sight 28 in. x 21 1/2 in. [$1800/2400]
Note: According to family tradition, the young man in the portrait was raised as a Catholic in France. He eventually turned toward the Protestant faith of the Huguenots. This portrait caused a family scandal at the time, because the young man is holding a Huguenot Bible.
352. Southern School, early 20th c., “Sunset Over Lake”, oil on canvas, signed and dated “Hulete 1919” lower right, signed, titled and inscribed en verso, 16 in. x 24 in., in a period giltwood frame. [$2500/4000]
353. American School, 19th/20th c., “The Great Mississippi Steamboat Race: Between Robert E. Lee and Natchez, June 1870, based upon the Currier and Ives Lithograph”, oil on canvas affixed to wood, unsigned, sight 25 1/2 in. x 43 1/2 in., in a period painted frame. [$2500/3500]
354. Ogden Minton Pleissner (American, 1905-1983), “Wooded Landscape”, oil on board, signed lower left, Newcomb-Macklin Co., New York label en verso, sight 7 3/4 in. x 9 3/4 in., in a period Newcomb-Macklin frame. [$5000/7000]
355. William Posey Silva (American/Georgian, 1859-1948), “Bridge-Magnolia Gardens”, oil on canvasboard, signed lower right, artist label en verso, 10 in. x 8 in. [$1500/2500]
356. An Antique American Oak Campeche Chair, 19th c., probably Louisiana, the continuous raked back and seat connected to curved arms, on curule supports, height 35 in., width 22 in., depth 17 in. [$1500/2000]
Provenance: Ouida Plantation, St. Francisville, LA.
357. An American Gothic Cast Iron Wall Clock, bearing patent date of 1859, with painted and mother-of-pearl floral decoration, having a paper dial set in a decorative hinged brass bezel mounted in iron case with crockets, pinnacles and trefoil ornament, height 22 1/2 in., width 14 in., depth 3 1/4 in. [$400/600]
*358. An American Federal Inlaid Mahogany Games Table, late 18th c., the fold-over top with rounded corners above a frieze with oval shell inlay and stringing, the tapering square legs with cuffs, signed twice indistinctly “WHU...” on the bottom, height 30 1/2 in., width 35 1/2 in., depth 17 1/2 in. [$1000/1500]
359. An American Classical Carved Mahogany Sofa, c. 1815, New York, crest rail, acanthine design, the ears decorated with bold rosettes, reeded scrolled arms, the saber legs headed by Ionic scrolls and carved with leaves, on foliate cast brass feet, note: restorations to rear legs, imperfections to crest rail, height 33 1/2 in., width 90 in., depth 25 in. [$2500/3500]
Note: A New York Mahogany “Dolphin” sofa of similar form with a closely related bowed crestrail ending in rosettes was sold in these rooms on April 9, 1999 as lot 600. Two other sofas of New York origin with similar distinctive crest rails can be found in the collections of the Metropolitan Museum of Art, New York and the Navy Memorial Museum, Washington, D.C. Interestingly, this sofa, lot 359, incorporates continuous reeding in the frame and has leaf carved saber legs in such a manner often associated with Duncan Phyfe.
Reference: Oscar P. Fitzgerald, Three Centuries of American Furniture, p. 118 and Marilynn Johnson, et al., Nineteenth Century America, Furniture and Other Decorative Objects, pl. 45.
360. A Good American Classical Giltwood and Ebonized Pier Mirror, Boston, early 19th c., the frame with rosette corner blocks, and reeded half columns spaced with gilded turned half columns, height 65 1/2 in., width 29 in. [$4000/6000]
361. An American Classical Mahogany Chest-of-Drawers, c. 1825-35, New York, with five graduated drawers flanked by Corinthian columns on a plinth resting on boldly carved paw feet, height 54 in., width 56 in., depth 25 in. [$1500/2500]
362. William Forsyth (American/Indiana, 1854-1935), “Gray Morning, (Lake Winona, Indiana)”, oil on board, signed lower right, titled and signed en verso, 14 in. x 20 1/8 in. [$6000/9000]
Provenance: Estate of William Forsyth.
Note: Between 1924 and 1930, William Forsyth taught painting at the John Herron Summer School in Lake Winona, Indiana. A summer resort, Lake Winona was a small picturesque village located in north central Indiana. An advocate of plein-aire painting, Forsyth painted the engaging scenes and daily life of the area. The most versatile of the Hoosier Group artists, Forsyth’s style of painting was constantly evolving and changing.
363. Alfred Heber Hutty (American/Charleston, 1877-1954), “Gate in Old Charleston”, etching, pencil-signed and monogrammed, 10 in. x 11 in., unframed. [$1000/1500]
364. Robert Wadsworth Grafton (American, 1876-1936, active New Orleans, 1916-20), “French Quarter Courtyard”, oil on canvasboard, unsigned, Winsor & Newton, England label en verso, 11 in. x 15 in., in a period frame. [$7000/10000]
Provenance: Gift of the artist to his neighbors in Michigan City, Indiana during the early 1930s.
Note: Robert Grafton made several extended visits to New Orleans between 1916 and 1920. Often accompanied by his fellow artist and Midwesterner L. O. Griffith, Grafton painted the historic buildings of the French Quarter and the scenic views of the New Basin Canal. While in New Orleans, he exhibited his paintings at the Art Association of New Orleans, Arts and Crafts Club and St. Charles Hotel. In this painting, Grafton was inspired by the decaying beauty of an historic Vieux Carré courtyard. In an impressionist manner, Grafton captures the effects of light and color on the arched colonnade and walls of the courtyard.
365. Robert Wadsworth Grafton (American, 1876-1936, active New Orleans 1916-20), “New Basin Canal, New Orleans”, oil on canvasboard, unsigned, Winsor & Newton, England label en verso, 11 in. x 15 in., in a period frame. [$6000/9000]
Provenance: Gift of the artist to his neighbors in Michigan City, Indiana during the 1930s.
Note: Grafton used the verso of this painting as a palette for his oil paints.
366. Alfred Heber Hutty (American/Charleston, 1877-1954), “Two Flower Girls”, etching, pencil-signed and monogrammed, image 5 1/4 in. x 7 1/4 in. [$2000/3000]
*367. Elizabeth O’Neill Verner (American/Charleston, 1883-1979), “Ravenal Doorway, Charleston”, etching, pencil-signed and titled, second state, image 7 in. x 5 in. [$800/1000]
368. Elizabeth Nourse (American/French, 1859-1938), “Morning Glories”, gouache on paper, signed lower right, exhibition labels from Midwestern Galleries, Mongerson Wunderlich Galleries, and Beacon Hill Fine Arts en verso, artist plaque on frame, 14 in. x 18 in. [$1500/2500]
369. Anglo-American School, late 18th c., “Portrait of a Woman in Blue”, oil on canvas, unsigned, remnants of antique label stretcher verso “John Knight/daughter”, 30 in. x 25 1/4 in., framed. [$2000/4000]
*370. Attributed to Clarence Millet (American/Louisiana, 1897-1959), “Delachaise Plantation in Louisiana”, oil on board, unsigned, titled en verso, 12 in. x 16 in. [$1000/1500]
371. Elmer Boyd Smith (American, 1860-1943), “Working in the Fields, Brittany, France”, c. 1890, oil on masonite, unsigned, “E. Boyd Smith Estate” stamped en verso, “The Minneapolis Institute of Art, Exhibited November 1975” stamped en verso, 10 1/2 in. x 14 in. [$3000/5000]
372. An American Late Classical Mahogany Center Table, c. 1825, New York, attributed to J & J.W. Meeks, with serpentine variegated black marble top over a plain skirt on carved and scrolled legs joined by an “H” form stretcher with urn finials, the scroll feet ending in casters, height 30 1/2 in., width 38 in., depth 24 in. [$1500/2500]
Note: A labeled J. & J. W. Meeks pier table in the Dr. Dubs townhouse of Natchez, Mississippi has similar scrolled supports and feet to those seen in this example.
Reference: Wendy Cooper, Classical Taste in America, p. 217.
373. A Set of Twelve American Gothic Revival Carved Oak Dining Chairs, late 19th/early 20th c., possibly by John Henry Sievers (1841-1920), San Antonio, Texas, with pierced, arched crocketed crests, blind fret stiles, square backs and seats with octagonal carved legs joined by “H” stretchers, sidechair height 47 1/2 in., armchair height 50 1/2 in. [$7000/9000]
Provenance: Descended through the family of C.G. Wood, a prominent planter in the Brazos River valley near Bryan, Texas. The Wood family moved into a house on 324 French Place in San Antonio in the early 1910’s to facilitate the debut of five daughters. According to family history, the dining room suite was purchased from a local convent for the home before Mr. Wood’s death in 1912, and according to family tradition, the suite was acquired from Sievers by the convent.
Note: Born in Germany in 1841, John Henry Sievers immigrated with his family to Castroville, Texas as a young child, and was trained in the rigorous German cabinetmaking tradition continued in the Central Texas immigrant community. Sievers established the J.H. Sievers Altar Manufacturing Company in San Antonio. The company supplied furniture not only in Texas, but also in Louisiana, New Mexico and Arizona throughout the late 19th and early 20th centuries. A carved figural panel Sievers made for the altar at San Antonio’s St. Joseph’s Church has the same round-faced physiognomy as seen in the figural masks featured in this dining room suite.
Reference: Cecilia Steinfeldt, “The Folk Art of Frontier Texas,” Magazine Antiques, December 1978, p. 1288.
374. An American Gothic Revival Carved Oak Extension Dining Table, late 19th/early 20th c., en suite with the twelve chairs, the molded edge oval top opening to take five leaves over an oak leaf carved apron punctuated by hooded masks, the pedestal base adorned with buttresses pierced with quatrefoils and flanked by legs carved with Gothic blind fretwork on octagonal bun feet, height 30 1/2 in., width 59 in., length 61 in., extended length 128 in. [$4000/6000]

375. An American Gothic Revival Carved Oak Sideboard, en suite with preceding lots, the trefoil pierced backsplash surmounted with crockets and centered with a woman carved in high relief over a cabinet with three drawers over three cabinet doors, all carved with oak leaves, masks and blind fretwork on a molded plinth or octagonal bun feet, height 54 in., width 71 in., depth 25 1/2 in. [$2000/3000]
*376. An American Gothic Carved Oak Server, en suite with preceding lots, with a crocketed, trefoil pierced backsplash centered by a woman’s head over a molded top and a long drawer with incurvate shelves below, height 51 in., width 45 1/2 in., depth 21 in. [$1500/2500]
377. An American Rosewood Bookcase, c. 1840, the molded cornice with a wavy molded frieze, the glazed doors decorated with pierced panels and beaded moldings, the pilasters fronted by applied Gothic arches, the base containing a pair of drawers, on bracket feet, height 87 in., width 44 in., depth 15 in. [$3500/4500]
378. Alfred Huber Hutty (American/Charleston, 1878-1954), “St. Philip’s Church”, etching, pencil-signed and monogrammed, 10 1/8 in. x 12 7/8 in. [$2500/3500]
*379. C. Winston Haberer (American/Kentucky, b. 1905), “Ancient Bridge, Kentucky”, lithograph, pencil-signed and titled, image 10 1/4 in. x 9 in. [$300/500]
*380. C. Winston Haberer (American/Kentucky, b. 1905), “Farm Houses, North Carolina”, lithograph, pencil-signed and titled, image 9 in. x 10 1/4 in. [$300/500]
*381. Hubert Morley (American, 20th c.), “Keeper of the Gate, New Orleans”, etching, pencil-signed and titled, image 6 in. x 6 in. [$200/400]
*382. Knute Heldner (Swedish/New Orleans, 1877-1952), “Rooftops”, etching, pencil-signed, titled and numbered “6/10”, signed and dated “1932” in plate, image 7 3/4 in. x 6 in. [$300/500]
383. A Newcomb College Art Pottery Vase, 1910, decorated by Anna Frances Simpson, squat baluster form modeled with tulips, semi-matte glaze with blue underglaze, base marked with Newcomb cipher, decorator’s mark, Joseph Meyer’s potter’s mark, and registration number EC3, height 5 1/2 in. [$2000/3000]
384. A Group of Antique Silver and Silverplate Spoons, mid-19th c., most monogrammed “S U”, including a Henry Hebbard, New York, NY, c. 1859, retailed by Hyde & Goodrich coin silver Fiddlethread dessert spoon, 2 Wood & Hughes sterling silver demitasse spoons, a French silver Fiddlethread tablespoon, a Christofle Fiddlethread dessert spoon, a Casimir Rouyer silverplate teaspoon and a Christofle silverplate teaspoon, also Fiddlethread, weight 5 troy ozs., 9 dwts., on upperface pseudo Fr. mark, made for the French market in N.O. [$150/250]
Provenance: Ursuline Convent, New Orleans.
385. A Pair of Tiffany Art Nouveau Sterling Silver Individual Salts, c. 1891-1902, diminutive footed circular forms, scrolled rims, gilt interiors, height 1/2 in., diameter 1 5/8 in. [$75/125]
386. A Pair of Tiffany Sterling Silver Master Salts, 1891-1902, each circular bowl on three shell-faced supports and a shell and anthemion rim, height 1 1/2 in., diameter 2 1/2 in., weight 3 troy ozs., 19 dwts. [$150/250]
387. A Group of Three Southern Graduated Copper Preserving or Candy Kettles, mid-19th c., all semi-spherical with rolled rims and large iron handles, marked New Orleans, diameters: 15 1/2 in., 16 1/2 in., 19 1/2 in. [$600/800]
388. William Woodward (American/New Orleans, 1859-1939), “Oyster Wharf-Biloxi”, oil on canvas, signed and dated “W. Woodward ‘25/Biloxi, Miss. Feb. 5th” lower left, with two labels en verso from Southern States Art League and Mississippi Art Association, 22 in. x 28 in. [$20000/30000]
*389. Robert Bledsoe Mayfield (American/New Orleans, 1869-1934), “Where Dwelt the Aristocracy, New Orleans”, charcoal and chalk drawing on brown wove paper, signed “Mayf” lower left, titled en verso, sight 10 1/4 in. x 5 1/2 in. [$600/900]
390. Morris Henry Hobbs (American/New Orleans, 1892-1967), “Bromeliad and Blue Bird”, watercolor, signed, dated “Feb. 15, 1966” and inscribed lower right, sight 20 in. x 14 in., together with a copy of The Times-Picayune Dixie Roto Magazine, from January 27, 1963 featuring an article by Martha Ann Samuel, about Morris Henry Hobbs entitled “New Orleans Artist Captures The Beauty of Bromeliads”. [$2500/3500]
391. Morris Henry Hobbs (American/New Orleans, 1892-1967), “Bromeliad and Female Cardinal”, watercolor, signed lower left, inscribed and dated “Feb. 15, 1966” lower right, sight 20 in. x 14 in. Accompanied by a copy of The Times-Picayune Dixie Roto Magazine from Sunday, January 27, 1963, featuring an article by Martha Ann Samuel about Morris Henry Hobbs entitled “New Orleans Artist Captures the Beauty of Bromeliads”. [$2500/3500]
392. Alexander John Drysdale (American/New Orleans, 1870-1934), “Louisiana Bayou Scene”, oil wash on board, signed lower right, sight 14 1/4 in. x 19 1/4 in. [$2500/3500]
393. Alexander John Drysdale (American/New Orleans, 1870-1934), “Louisiana Bayou”, oil wash on board, signed lower left, sight 15 1/2 in. x 39 1/4 in., in a period frame. [$3000/5000]
*394. Robert Rucker (American/Louisiana, 1932-2000), “French Quarter Corner”, watercolor, signed lower right, sight 8 1/2 in. x 6 in. [$500/700]
395. Robert Rucker (American/Louisiana, 1932-2000), “French Quarter Antique Store”, oil on canvas, signed lower left, 16 in. x 20 in. [$3000/5000]
396. Knute Heldner (American/New Orleans, 1877-1952), “Sail Boat in the Mist”, oil on canvas, signed in lower right, Ben’s Studio, Royal St., New Orleans label en verso, 24 in. x 30 in. [$4000/6000]

397. Kate Freeman Clark (American/Holly Springs, Mississippi, 1875-1957), “The Nut Trees, Marsh Meadows”, oil on canvas, signed lower right, titled and inscribed additionally “Alfred H’s lower lot”, original label verso, illegible pencil inscription and price, $275.00 on stretcher verso, 20 in. x 26 in., in the original giltwood frame. [$10000/15000]
Provenance: Private Collection, New York.
Note: Brought up in Vicksburg and Holly Springs from a prominent Mississippi family, Kate Freeman Clark attended finishing school in New York at the Gardner Institute. After graduating in 1894, she entered the Art Students League where she studied with Irving Ramsay Wiles and John Twachtman, but was most profoundly influenced by William Merritt Chase, and became one of his favorite students as well as close friends. She studied year round with Chase, and received instruction in plein-air painting at the Shinnecock Hills Summer School of Art 1896-1902, drawing much inspiration from the beauty of Long Island. Clark often painted seasonal variations of the same landscape. “The Nut Trees” is an autumn version of a similar scene depicted in summer, “Marsh Meadows”, featured on the cover of the 1996 Lauren Rogers Museum of Art exhibition catalog.
Clark began signing her work “Freeman Clark” to mask her gender and exhibited over a twenty-year period at institutions including the Boston Art Club, the Pennsylvania Academy of Fine Arts, the Corcoran Gallery, the Carnegie Institute, the New York School of Art, the National Academy of Design, and the Society of American Artists. Kathleen McClain Jenkins notes in her essay in the 1996 LRMA exhibition catalog that Clark sent selected paintings to a few private galleries but “elite social mores may have forbidden Clark to sell her works, as proper ladies were not allowed to engage in trade”. The price on this painting indicates it was one of those rare works offered for sale.
After her mentor Chase’s death in 1916, she exhibited for the last time at the Men’s City Club of New York in 1918. When her mother died in 1922, Clark gave up painting, put her work in storage in a New York warehouse, and returned to her family home in Holly Springs, where she lived a sheltered, genteel life. Very few of Clark’s paintings have ever been in circulation outside of the collection of over 1,000 works now housed at the Kate Freeman Clark Art Gallery in Holly Springs, established after her death.
Ref: Summers of ’96 – The Shinnecock Revisited: The Inspiration of Kate Freeman Clark by William Merritt Chase, Lauren Rogers Museum of Art, 1996; Art in Mississippi, 1720-1980, Patti Carr Black, 1998; Kate Freeman Clark: A Painter Rediscovered, Cynthia Grant Tucker, 1981.,; Bea Green, Curator, Kate Freeman Clark Art Gallery, Holly Springs, Mississippi.
*398. H. Alvin Sharpe (American/New Orleans, d. 1972), “Schooner at Sea”, oil on masonite, signed and dated “53” lower right, sight 31 in. x 35 1/4 in. [$800/1200]
399. Ellsworth Woodward (American/New Orleans, 1861-1939), “Corporal Murphy, Parade Rest”, pencil drawing, unsigned, from Ellsworth Woodward’s Sketch Book, c. 1890, photocopy of the sketch book title page en verso, sight 10 in. x 6 1/4 in. [$600/900]
Provenance: Carl Ellsworth Woodward, New Orleans.
400. Ellsworth Woodward (American/New Orleans, 1861-1939), “American Enlisted Man in a Winter Cape”, pencil drawing, unsigned, from Ellsworth Woodward’s Sketch Book c. 1890, photocopy of the sketch book title page en verso, sight 9 3/4 in. x 6 1/4 in. [$600/900]
Provenance: Carl Ellsworth Woodward, New Orleans.

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