Information below is the lot/description information from our Louisiana Purchase Auction™, September 30th & October 1st, 2006. 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.
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301. An American Classical Giltwood Cornucopia Mirror, early 19th c., the oval ropework frame surmounted by abundant fruit, nuts and leaves, the base tied with a bow, height 36 in., width 20 in. [$1200/1800]

302. An Antique Very Fine Gilt Bronze Figural Mantel Clock with Dome, mid-19th c., the allegorical figure sitting next to a lyre and books, in her hand a scroll naming Virgil’s works, “Les Georgiques” and “l’Eneide”, the rectangular plinth with wreath and horn trophee, ending in dolphin and lion mask feet, height of clock 19 1/4 in., width 13 1/4 in., depth 5 1/4 in., with dome height 23 1/2 in., width 19 1/2 in., depth 9 1/4 in. [$3000/5000]

303. A Good American Chippendale Birch Oxbow Chest of Drawers, c. 1770-1790, Salem, Massachusetts, the molded top above graduated drawers fitted with original pulls, the base molding with fan carving, on scalloped bracket ball and claw feet, height 34 in., width 39 in., depth 22 in. [$25000/40000]
Provenance: With Israel Sack, Inc., March 28, 1975, to the collection of Marshall Field V, Chicago.
Reference: Illustrated in American Antiques from Israel Sack Collection, vol. 2, #1116, p. 447.

304. A Pair of American Federal Mahogany Bowfront Chests, c. 1830, Philadelphia, each with cockbeaded drawers with brass pulls, raised on turned peg-legs, height 38 1/2 in., 43 in., depth 24 in. [$8000/12000]
Provenance: Sold at auction on Sept. 22, 1924 by Samuel T. Freeman and Company from the estate of Ellen Duane Davis. This pair of chests descended from her mother Deborah Bach Duane (1781-1863), the granddaughter of Benjamin Franklin.

305. An American Federal Mahogany and Satinwood Inlaid Bowfront Sideboard in the Sheraton Taste, c. 1800, probably Massachusetts, the shaped top above banded drawers, highly figured cupboards and bottle drawers below, raised on turned, tapered and reeded legs, height 42 1/2 in., width 65 1/2 in., depth 24 1/2 in. [$8000/12000]

306. An American Rococo Carved Rosewood Half-Tester Bed, mid-19th c., New Orleans, accompanied by the original bill of sale from Prudent Mallard, 53-55 Royal Street, to J.W. Hincks, and noted “paid for my daughter Jenny Hincks with her money, J.W. Hincks.” The pierced crest atop the gadrooned canopy with stylized vegetal scrolls, supported by tall posts framing a headboard, the pediment decorated with scrolls, shells and swag, the front bulbous legs terminating in tazza-form urns, with conforming carved rails, top probably with original upholstery, approximate measurements: height 126 in., length 88 in., width 61 in. [$45000/65000]
Provenance: J. W. Hincks, by descent to the present owner.
Note: One of the few bedroom suites documented to the shop of Prudent Mallard is at Gallier House, New Orleans. Interestingly, the bill of sale for the Reynes suite at Gallier and the bill of sale for the Hincks suite offered here both include a “lit Victoria”, a mirrored door armoire and a duchesse dressing table, as well as mattresses, pillows and mosquito netting for the bed.

307. An American Rococo Carved Rosewood Duchesse, mid-19th c., found en suite with the preceding lot, New Orleans, accompanied by a copy of the bill of sale, the mirror with typical egg-shaped cartouche, surrounded by scrollwork and a garland, framed by shell pattern supports, resting on a marble top, the bowfront table on cabriole legs adorned with vegetal forms and another center medallion, the X form stretcher of foliate scrollwork, topped with campagna urn, height 82 1/2 in., width 41 in., depth 23 1/2 in. [$10000/15000]

308. An American Rococo Carved Rosewood Armoire, mid-19th c., found en suite with the bed and duchesse accompanied by a copy of the bill of sale, from Prudent Mallard, 53-55 Royal Street, the scrolled crest with shell tazza-shaped finials, panelled mirror and door decorative scrollwork forming an arch, raised on square base with drawer and casters, height 108 1/4 in., width 46 in., depth 20 1/2 in. [$10000/15000]

308A. An American Neo-Grec Carved and Giltwood Overmantel Mirror, c. 1870, labeled L. Uter, Royal Street, New Orleans, original surface, the mirror with square center pediment featuring a profusion of decorative ornaments, such as anthemia, rosettes, lotus palmettes, ivy leaves and tendrils, dentils and gordian knots, all carved in high relief, height 75 in., width 56 1/4 in., depth 7 in. [$2000/2500]
Note: Label en verso reads “L. Uter, Dealer in Looking Glass, No:47 Royal St., New Orleans”, perhaps acquired from Uter when Mallard bedroom furniture was purchased by the Messr. Hincks.

309. An American Classical Carved Mahogany Armoire, c. 1825-1835, Baltimore, the molded cornice with arched recessed frieze above side cabinets fronted by tapered pilasters centered by a pair of doors now with glass panels, raised on paw feet headed by conforming Ionic capitals, height 87 in., width 80 in., depth 28 in. [$4000/6000]

310. A Southern Cherry, Pine and Poplar Huntboard in the Hepplewhite Taste c. 1800, North Carolina, Piedmont region, the breakfronted top with molded edge over drawers and paneled cabinet doors on slender square tapering legs, height 43 in., width 50 1/2 in., depth 19 1/2 in. [$8000/12000]
Note: Evolving from Colonial-era long tables, the Southern “sideboard table” emerged as the preferred furniture for serving food. Early examples had long legs and shallow drawers. Drawer depth increased through the early 19th-century as dining accessories became more plentiful and storage needs increased. This example includes cupboards for the storage of tall items like bottles. The commonly known term, “huntboard”, was applied to the form by early 20th c. antiquarians.
Reference: See Sumpter Priddy III, “Huntboards”, Southern Accents, September-October, 2004, pp.60-62.

311. After William Edward West (American, 1788-1853), “Battle of New Orleans, and Death of General Packenham on the 8th of January, 1815”, engraving, published by McCarty and Davis, Philadelphia, July 1817, engraved by J. Yeager, printed by Y. Saurman, plate 16 in. x 21 in., in a period gilt frame with eglomisé mat. [$1200/1800]
Provenance: From the estate of noted New Orleans antiquarian Juanita Elfert.

312. An American Federal Inlaid Mahogany Bottle Cabinet on Stand, early 19th c., the dovetailed case opening to a storage compartment, the face with an oval inlay of an eagle clutching a shield, on an associated conforming stand with sliding tray; raised on chamfered square legs, connected by an H stretcher, height 39 in., width 19 1/4 in., depth 16 in. [$7000/10000]

313. A Good American Classical Carved Mahogany Extension Banquet Table, early 19th c., New York, having a pair of D end drop-leaf sections and a center drop-leaf section with plain skirts, raised on vasiform turned, fluted supports, on incurvate plinths with reeded saber legs ending in brass cup casters, height 29 in., length 160 in., width 53 1/4 in. [$8000/12000]
Provenance: An old note accompanying this table indicates it is a bequest from Mrs. Mary P. James, Williams/James families of Natchez, Mississippi.

314. An American Late Federal Mahogany Bedside Stand, c. 1810-15, the door and drawer framed by reeded moldings, raised on finely tapered rope twist legs ending in ferrules, height 31 1/2 in., width 19 1/2 in., depth 15 1/2 in. [$1000/1500]

w 315. An American Late Federal Tiger Maple and Cherrywood Washstand, early 19th c., the top with a paneled and scrolled splashrail above a drawer and scalloped apron, raised on turned and blocked legs with stretcher, height 35 in., width 20 in., depth 15 1/2 in. [$1000/1500]

w 316. American School, mid-19th c., “Sailing Ship”, oil on canvas, unsigned, 6 in. x 9 in., in a period giltwood and gesso frame. [$800/1200]

w 317. Alphonse Gamotis (American/New Orleans, 1842-1919), “Louisiana Landscape with Two Tents and Indians on a River Bluff”, watercolor on board, signed and inscribed “A Gamotis N.O.” lower left, sight 6 in. x 8 in. [$500/700]
Provenance: From the estate of noted New Orleans antiquarian Juanita Elfert.

318. Franco-American School, 19th c., “Portrait of an Elegant Woman in a Sumptuous Interior”, oil on canvas, 36 1/2 in. x 29 in., in a period gilt frame. [$2500/3500]

319. William Forsyth (American/Indiana, 1854-1935), “Campfire by the Creek”, oil on board, signed lower right, signed, inscribed and dated “1921” en verso, 28 in. x 23 1/2 in. [$12000/18000]
Provenance: Family of the artist.
Note: In 1906, famed Hoosier Group artist and teacher, William Forsyth moved his family to a larger rambling home in Irvington, a town just outside of Indianapolis. Pleasant Run Creek and the hilly wooded countryside of Irvington became an endless source of inspiration. The most diverse of the Hoosier Group artists, William Forsyth combined the various aesthetics of modernism and impressionism in this painting of a small campfire ablaze along the banks of Pleasant Run Creek.
Ref: Martin Krause, The Passage: Return of the Indiana Painters from Germany, 1880-1905, Indianapolis Museum of Art and Wallraf-Richartz-Museum in cooperation with Indiana University Press, 1990, p. 264.

320. An American Mahogany and Satinwood Inlaid Bowfront Chest of Drawers, c. 1800-1815, probably Portsmouth, New Hampshire, the case with four drawers with central satinwood inlay and banded edges, the apron containing inlaid panel with lozenge, resting on splayed feet, with fine original brass pulls, height 36 in., width 43 in., depth 21 in. [$4000/6000]

321. A Louisiana Santo Domingo Mahogany Child’s Armoire in the Federal Taste, early 19th c., having a molded cornice above a paneled door and sides, the interior with shelf, raised on delicately turned tapered legs, poplar secondary wood, height 32 1/2 in., width 21 1/2 in., depth 13 1/2 in. [$4000/6000]
Provenance: From the estate of noted New Orleans antiquarian Juanita Elfert.
 

322. A Fine Set of Eight Gilt-Stenciled Rosewood Faux Bois Dining Chairs, early 19th c., comprised of two arm and six side chairs, each crest with fruit motif, lyre splat, the chamfered stiles with bellflowers and vines, pinstriped arms, rounded rush seats, and turned tapered legs connected by stretcher, in a fine state of preservation. [$4000/6000]

323. American School, early 19th c., “Portrait of Henry Somerby Swasey (New Orleans, 1837-1863) as an Infant”, oil on canvas laid on board, c. 1839, unsigned, two handwritten unsigned notes regarding family genealogy en verso, 13 1/4 in. x 13 1/4 in., in a period frame. [$2500/3500]

w 324. Southern School (mid-19th c.), a pair of drawings of “Plaquemine” and “Courtyard with Gazebo and Two Buildings”, pencil sketches, both unsigned, former titled and dated “May 5th, 67” lower left, 4 1/2 in. x 7 in. and 4 in. x 6 1/2 in. respectively, unframed. [$300/500]
Provenance: Rosedown Plantation, St. Francisville, Louisiana.

325. Continental School, possibly a follower of Jacques-Louis David (French, 1748-1825), “Young Lady at a Pianoforte”, oil on canvas, c. 1810-1815, partial fragmentary inscription reads as follows: “Six_/`Roma_ /Avec Accompagn[ement]_ /A Anne Fran[çoise]/ de Cessart_/par/ Alexandrine Le_/sa fille/ prix”, 36 3/8 in. x 29 in., unframed. [$1000/1500]

326. A Lower Mississippi River Valley Walnut and Cypress Work Table, late 18th/early 19th c., possibly Louisiana, the top composed of three walnut boards over a scalloped cypress skirt with later drawer, raised on cabriole legs, height 30 in., width 45 in., depth 33 in. [$3000/5000]

327. A Southern Whitewashed Cypress or Pine Punkah, late 18th/early 19th c., probably Tidewater region, of trapezoidal form with a doweled panel, eye hook and replaced hanging bar above, height 24 1/2 in., width 34 in., depth 2 in. [$5000/7000]
Note: This short and evidently early form represents the type intended to be sheathed in fabric, which would have been extended downward in a freely hanging skirt or fringe; such a fabric punkah cover is illustrated in a 1958 archival photograph of the original appearance of the dining room at Rosedown Plantation, St. Francisville, Louisiana.

328. A Louis XV Carved Walnut Serpentine Commode, mid-18th c., having a molded top above shaped molded drawers, fitted with finely cast bronze pulls and escutcheons, the sides with scalloped lozenge shaped panels, a scalloped foliate and shell carved apron, raised on cabriole legs, height 34 1/2 in., width 49 in., depth 25 in. [$14000/18000]
Provenance: Acquired from the noted New Orleans antiquarian Fernand Sanchez who discovered this commode in a Crozat family home on Esplande Avenue.

329. After Marie Adrien Persac (American/Louisiana, 1827-1873), Plantations on the Mississippi River from Natchez to New Orleans, 1858., copyright 1931, Pelican Book Shop, Inc., printed by Rand McNally & Company, showing the divisions of land with owners’ names, vignettes of New Orleans, Baton Rouge and plantations, the decorated border composed of cotton plants and sugar cane, height 53 in., width 31 in. [$2500/3500]
Provenance: Used by famed New Orleans photographer Clarence John Laughlin to identify plantations in Southern Louisiana.
Note: The very rare earlier version of this map was published by Norman and engraved by J.H. Colton, New York. The publisher had planned to make a series of three maps showing plantations from New Orleans all the way to Memphis, but this was the only one completed.

330. A Stanislas Fournier Tall Case Clock, mid-19th c., New Orleans, the white enamel dial marked “S. Fournier, N’elle Orlea....” with Roman numerals, pierced hands and a brass frame, and large pendulum and Morbier movement; the antique walnut case with a molded cornice, tall glazed door over a paneled case, plain plinth on small block feet, overall “estate” condition, height 92 1/2 in., width 20 in., depth 10 in. [$15000/25000]
Provenance: From the collection of antiquarians John and Eileen Kinabrew, New Orleans.
Note: Born in St. Aubin de Cauf, Normandy, Stanislaus Fournier was apprenticed at the Lepaute firm of Paris who sent him to install a large clock in New Orleans’ St. Louis Hotel in 1841 or 1842. Prompted by the lack of clock and watchmakers in the city, Fournier opened a shop on Toulouse Street after his seven month hotel project was complete. Fournier soon relocated to 60 Royal Street, where he worked for twenty years, and his apprentice, E. Barbier, remained for another thirty. Known as a maker of “American” style regulator clocks, Fournier interestingly places a Morbier movement in this distinctive French Provincial style case.
Reference: J.M. Kinabrew, “Stanislaus Fournier, New Orleans Clock and Watch Maker”, National Association of Watch and Clock Collectors Bulletin, April 1997, pp. 189-192.

331. A Federal Inlaid Mahogany Armchair, late 18th/early 19th c., the spindled crest rail in the form of clustered palmetto leaves, the curved panel centered by a dogwood blossom, connected by scrolled canted stiles, scrolled arms with diamond inlay, concave shaped seat, raised on square tapered legs, height 37 1/2 in., width 22 in., depth 20 in. [$1500/2500]
Note: Closely related to certain campeche chairs found in the American South.

332. Captain William Lindsey Challoner (British, 1852-1901, active New Orleans 1882-87), “USS Maine (1895-1898) Passing Morro Castle as She Enters into Havana Harbor, Cuba”, oil on canvas, signed and dated “1900” lower right, 16 in. x 28 in., in a period frame. [$30000/50000]
Note: Trained at the York Naval Academy in England, Captain William L. Challoner worked for the Machecca line of fruit trade ships that sailed between New Orleans, New York City, San Francisco, Cuba and Central America. Because of his experiences as a ship captain, Challoner adeptly painted the variety of ships that frequented the busy ports.
In January of 1898 the battleship USS Main was sent to Havana to protect American interest during the long-standing Cuban revolt against the Spanish government. During the evening of February 15th the USS Maine sank in the harbor when the forward gunpowder magazines exploded. While the cause of the explosion remains unclear, American sentiment of the day blamed Spain and war followed within a few months. In this painting, Captain Challoner captured the impressive American ship as it enters the harbor not knowing its eventual fate.

333. Attributed to Julien Hudson (American/New Orleans, c. 1811-1844), “Portrait of a Creole Gentleman”, oil on canvas, unsigned, remnant of framing label en verso, 13 in. x 10 3/4 in., in a period gilt frame. [$10000/15000]
Note: Julien Hudson, a free man of color, enjoyed a successful career as an artist and teacher in antebellum New Orleans. His father was an English ship chandler and iron monger and his mother, Suzanne Désirée Marcos, was a New Orleans free quadroon. During this period, there was a large class of free men of color who worked as professional artists, musicians, writers, craftsmen and cigar merchants in the city.
Initially Hudson studied with New Orleans artist Antonio Meucci and later furthered his training in Paris. In 1831 he opened a studio on Bienville Street and advertised as a specialist in portrait and miniature painting. Hudson’s signed “Self Portrait” in the Louisiana State Museum Collection (currently on display in the Cabildo) is similar in style and treatment to the “Portrait of a Creole Gentleman.” Both of these paintings are relatively small in terms of standard sizes for Louisiana portraits of this period, and apparently reflect Hudson’s abilities at miniature painting.
Reference: Patricia Brady, “A Mixed Palette: Free Artists of Color of Antebellum New Orleans,” The International Review of African American Art: 19th Century African American Fine and Craft Arts of the South, Hampton University Museum, Virginia, Volume 12, No. 3, pp.5-8.

334. William Henry Buck (American/New Orleans, 1840-1888), “Three Cabins Along Shoreline”, oil on canvas, signed lower right, 18 in. x 30 in., in a period giltwood frame. [$150000/250000]
Provenance: Dr. George Crozat, Houmas House Plantation, then to Bocage Plantation, Burnside, Louisiana.
Note: The painting offered here (lot 334) is one of a pendant pair, probably executed for exhibition, by Buck. The companion to this lot was sold in these sales rooms as lot 701, October 2nd-3rd, 2004.
Note: “Three Cabins Along the Shore” is a wonderful example of the William Henry Buck work at the height of his abilities as a painter. Buck’s intimate knowledge of the local indigenous plant life and topography is evident. The cabins, each in a different variation of the Acadian Creole cabin, were built on stilts above the water. On the side of the most rustic cabin are palmetto fonts laid out to dry. Despite the remoteness of the terrain, there is a sailing boat in the distance, a sign of encroachment of modern civilization and technology. In a sense there is a nostalgic quality to the painting, that Buck has documented a sense of time and place.

335. A Rare and Important Louisiana Extensively Inlaid Cherrywood and Cypress Armoire, c. 1815, bears old chalk inscription “Octobre 1815”, the cornice with dentil inlay of light and dark woods above a wide frieze of overlapping semi-circles centered by a lightwood oval tablet with dark stained vines and cypher at the center, above segmented fan inlaid doors, the stiles topped by fan and bellflower variation with trailing vine below, a distinctive skirt, raised on cabriole legs; the interior with original belt of inlaid drawers, height 84 1/4 in., width 51 in., depth 19 in. [$110000/125000]
Note: In her analysis of this important armoire, scholar Jessie Poesch noted that, “The exuberant use of inlay suggests a provincial craftsman who was perhaps delighted to demonstrate his familiarity with the Neo-Classical-style prevailing on the East Coast.”
Reference: Jessie Poesch, Early Furniture of Louisiana, pp. 58-59. This armoire is also illustrated and featured in Jessie Poesch, “Early Louisiana Armoires”, The Magazine Antiques, August, 1968, frontice plate on p. 188 and fig. 9-9b. pp.1 96-205.

336. An American Classical Mahogany Curule Stool, early 19th c., possibly New Orleans, with scrolled X form supports ending in bosses, the joints with carved diamonds connected by a bulbous turned stretcher, height 17 in., depth 14 in., width 15 in. [$1200/1800]
Note: American furniture makers derived some designs from high style Regency examples, such as those from John Hall. Variations of similar curule stools are illustrated in John Hall and the Grecian Style, p. 33. This stool incorporates a distinctive diamond lozenge in the French taste.

337. A Southern Federal Painted Yellow Pine Work Table, early 19th c., the plank top above a deep apron, raised on tapered rectangular legs, pegged construction, height 30 in., width 24 in., depth 19 1/2 in. [$800/1200]

338. A Fine American Inlaid Cherrywood Armoire, c. 1800, Louisiana, the cove molded rope inlaid cornice with canted corners, inlaid frieze, the interior with shelves and original belt of drawers, scalloped skirt and cabriole legs with hoof feet, height 85 in., width 50 in., depth 24 in. [$40000/60000]
Provenance: Houmas House Plantation, Burnside, Louisiana, collection of Dr. George Crozat. 337. A Southern Federal Painted Yellow Pine Work Table, early 19th c., the plank top above a deep apron, raised on tapered rectangular legs, pegged construction, height 30 in., width 24 in., depth 19 1/2 in. [$800/1200]

339. William Aiken Walker (American/South Carolina, 1838-1921, active New Orleans, 1876-1905), “Male Cotton Picker”, oil on board, signed lower right, 8 in. x 4 in., in a gilt frame. [$7000/10000]
Note: To be included in John Fowler’s forthcoming catalogue raisonné on William Aiken Walker.

340. William Aiken Walker (American/South Carolina, 1838-1921, active New Orleans, 1876-1905), “Female Cotton Picker”, oil on board, signed lower left, 8 in. x 4 in., in an antique gilt frame. [$7000/10000]
Note: To be included in John Fowler’s forthcoming catalogue raisonné on William Aiken Walker.

341. Alexander John Drysdale (American/New Orleans, 1870-1934), “Louisiana Bayou”, oil wash on academy board mounted on cardboard, signed and dated “1911” lower left, sight 17 1/2 in. x 28 in., attractively framed. [$4000/6000]

342. Alexander John Drysdale (American/New Orleans, 1870-1934), “Louisiana Oak and Trapper’s Cabin, Bayou Teche”, oil wash on board, signed lower, W.E. Seebold, New Orleans label en verso, sight 19 in. x 29 in., in a period frame. [$3000/5000]

343. Clarence Millet, A.N.A. (American/New Orleans, 1897-1959), “Devereaux Plantation: Summer Night”, oil on canvas, signed lower left, titled en verso, 25 1/2 in. x 30 in., in a period frame. [$20000/30000]

344. William Aiken Walker (American/South Carolina, 1838-1921, active New Orleans, 1876-1905), “Cabin Scene”, oil on artist board, signed lower left, 12 in. x 6 in., in an antique gilt frame. [$25000/35000]
Note: To be included in John Fowler’s forthcoming catalogue raisonné on William Aiken Walker.

345. J.F. Wilder (American/New Orleans, late 19th c., active New Orleans, c. 1871)., “Scene on the Tchefuncte River”, oil on artist board, signed lower left, on the boat’s transom is written partially, “Wilm...Covington”, sight, 12 1/2 in. x 18 1/4 in., framed. [$5000/7000]
Provenance: From the estate of noted New Orleans antiquarian Juanita Elfert.
Note: The Tchefuncte River, about 40 miles long, is a tributary of Lake Pontchartrain. In the 19th century it was an important commercial waterway. A designated “Natural and Scenic River”, it passes the towns of Covington and Madisonville and flows into Lake Pontchartrain at the lake’s northern point.

346. A Southern Walnut and Yellow Pine Garde Manger, early-to-mid-19th c., lower Mississippi River Valley, the molded cornice above a pair of tall doors with screen panels, screen side panels, over a pair of drawers and two paneled cupboard doors, scalloped apron, bracket feet, height 88 1/2 in., width 54 in., depth 21 1/2 in. [$4000/6000]

347. A Louisiana Walnut Petite Armoire, late 18th/ early 19th c., the flat top above a plain frieze and paneled doors, the base with highly developed scalloped skirt and cabriole legs, retaining two interior shelves, height 56 1/2 in., width 45 in., depth 20 in. [$18000/25000]
Note: The diminutive proportions, use of a flat top, and small hinges seen in this example are similar to those in a walnut armoire owned by Hugh Allison Smith and illustrated in Jessie Poesch, Early Louisiana Furniture, p. 64, pl. 45, 45A.

348. A Rare Pair of Federal Mahogany Footstools, c. 1810-1825, Philadelphia, the tops found with period ticking, raised on turned tapered, splayed legs. [$1800/2500]
Provenance: Purchased from Ivy Lodge/Cottage in Exton, PA. Descended in the Thomas Family from Colonel Thomas (The Fighting Quaker), who moved there around 1800.

349. An American Mahogany Bookcase in the Gothic Taste, c. 1830-1840, probably Baltimore, the molded, pedimented cornice above a pair of paneled glazed doors, opening to a divided interior with adjustable shelves, molded base and spade feet, height 96 in., width 50 in., depth 14 in. [$3000/5000]

350. A Good Pair of Painted Cypress Punkahs, c. 1850, finely made, of mortised diamond-fret reticulation within broad trapezoidal borders, old white paint over original green stain, the lower edges each retaining six pins (or remnants) for attachment of skirts or fringes, the tops banded with well-fitted wrought-iron support straps and suspension rods, height 53 1/2 in., width 38 1/2 in. [$18000/25000]
Note: Said to have been salvaged from Uncle Sam Plantation, near Convent, LA., in St. James Parish, a Classical Revival plantation complex which cost more than $100,000 to construct in 1843-1849, demolished 1940 by U.S. Army Corps of Engineers; see Clarence John Laughlin, Ghosts Along the Mississippi, New York, 1948/1961/1987.

351. A Southern Federal Inlaid Mahogany Chest of Drawers, early 19th c., Georgia, rectangular top, four graduated drawers scalloped apron, French feet, the whole with original pulls, fine string inlay, yellow pine secondary wood, height 37 1/2 in., width 40 in., depth 19 in. [$5000/8000]

w 352. Lithograph of Andrew Jackson, by Albert Newsam (American 1809-1864) after William James Hubard (British/Virginia, 1807-1862), published by Childs & Lehman, Philadelphia, sight 9 5/8 in. x 7 5/8 in. [$400/700]
Note: A deaf-mute orphan, Albert Newsam had a natural talent for drawing. In 1827, Newsam began his four year apprenticeship with the Philadelphia printmaker Cephas Childs. In 1830, the young and ambitious James Hubard convinced Andrew Jackson to sit for him and briefly joined Childs’ studio. There Hubard drew a lithograph based on Hubard’s portrait of Jackson which Childs published.
Reference: James G. Barber, Andrew Jackson: A Portrait Study, National Portrait Gallery, Smithsonian Institution and Tennessee State Museum, 1991, pp. 111-3.

353. An Antique Lithograph of Toussaint l’Ouverture, 19th c., Toussaint l’Overture, Soldier, Statesman, Martyr; the Great Liberator of Hayti, the slave rebellion leader shown holding a telescope, sight 22 in. x 16 in., original frame. note: losses. [$350/550]

354. [SLAVE TRADE], after George Moreland (English School, 1763-1804), “Traite des Negres”, c. 1794, stipple engraving, by Mlle B. M. Rollet, Paris, image size 13 1/4 in. x 17 1/2 in. [$2000/3000]
Note: This print was made in recognition of the action taken by the Convention-Nationale of France on February 4, 1794, to abolish slavery in the French colonies.

355. After John James Audubon (American 1785-1851), “Sandwich Tern, Florida Cray Fish”, no. 56, plate CCLXXIX, from Birds of America, hand-colored engraving by R. Havell, double-elephant paper watermarked “J. Whatman, 1836”, framed, image size 10 1/8 in. x 18 1/8 in, sheet size 25 in. x 37 1/4 in. [$2500/3500]
Note: Based on a composition painted May 26, 1832 in the Florida Keys. Audubon described how he “observed a large flock of Terns....on examining the first individual picked up from the water, I perceived from the yellow point of its bill that it was different from any that I had previously seen, and accordingly shouted “A prize! A Prize!” a new bird to the American Fauna! And so it was good Reader, for no person before had found the Sandwich Tern on any part of our coast”.

356. After John James Audubon (American, 1785-1851), “Olive Sided Flycatcher”, No. 35, Plate CLXXIV, from Birds of America, hand-colored engraving, Havell edition, 1833, the elephant folio paper watermarked “J. Whatman, Turkey Mill/ 1833”, sheet size approximately 38 1/4 in. x 24 3/4 in., matted and framed. [$3000/5000]

357. After John James Audubon (American, 1785-1851), “Mocking Bird”, Bien edition, No. 32, plate 138, chromolith., 1860, from Birds of America sight 35 1/2 in. x 23 1/4 in. note: old restoration. [$1500/2500]

w 358. After John James Audubon (American, 1785-1851), “White Ibis” and “Snow Goose”, hand-colored engravings from the octavo edition of Birds of America, engraved by J.T. Bowen, sight 6 1/4 in. x 9 1/4 in., each matted and framed. [$800/1200]

359. Alfred Huber Hutty (American/Charleston, 1877-1954), “Cabbage Row (Catfish)”, etching, pencil-signed, snail monogram and titled, 15 in. x 13 3/4 in., unframed. [$3000/5000]

w 360. Elizabeth O’Neill Verner (American/Charleston, 1883-1979), “Sword Gates, Charleston”, etching, pencil-signed and titled, sheet 4 3/8 in. x 3 1/4 in., unframed. [$800/1200]

361. Elizabeth O’Neill Verner (American/Charleston, 1883-1979), “Postern Gate, Charleston”, etching, pencil-signed and titled, sheet 6 in. x 4 1/4 in., unframed. [$800/1200]

w 362. Elizabeth O’Neill Verner (American/Charleston 1883-1979), “Ravenel Doorway, Charleston”, etching, pencil-signed and titled, 2nd State, sheet 11 in. x 8 1/2 in., unframed. [$800/1200]

w 363. Alfred Heber Hutty (American/Charleston, 1877-1954), “Carolina Pines”, etching, pencil-signed and snail monogrammed lower right, image 6 5/8 in. x 8 3/8 in., sheet 10 1/2 in. x 12 in., unframed. [$800/1200]

w 364. Alfred Heber Hutty (American/Charleston, 1877-1054), “Loblolly Pines”, etching, pencil-signed and snail monogrammed lower right, image 10 1/2 in. x 8 5/8 in., sheet size 14 1/4 in. x 11 3/4 in., unframed. [$800/1200]

365. Rufus Fairchild Zogbaum (American, 1849-1925), “Engagement Between the USS Cumberland and the CSS Virginia”, watercolor, signed lower left, Charleston Renaissance Gallery label en verso, 10 in. x 11 1/2 in. [$2500/4500]

w 366. American School (New York, early 19th c.), “The U.S.S. President, 1814”, oil on glass and paper, c. 1814, signed illegibly and on reverse, top right, 9 3/4 in. x 14 1/2 in., framed. [$600/900]
Note: The U.S.S. President was one of originally 44-gun frigates commissioned by the Naval Act in 1794. Launched in 1800, she saw action against the Barbary pirates off the coast of Tripoli from 1804-05 and prolonged duty on patrol in the North Atlantic, before her engagement with the H.M.S. Little Belt, a significant event that heightened hostility between Britain and the U.S., and helped to precipitate the War of 1812. During that conflict she proved indispensable until blockaded in New York Harbor for a year. She sailed finally on January 14, 1815 and was captured the next day by a fleet led by the H.M.S. Endymion. She was scuttled at Portsmouth in 1817.
Provenance: From the estate of noted New Orleans antiquarian Juanita Elfert.

367. Edward L. Custer (Swiss/American, 1837-1881), “Major Dix at the Battle of Buena Vista”, after a painting by Henry Warren (American, b. 1793), oil on canvas, signed lower right “E. Custer, Pinxt”, signed en verso, 27 1/4 in. x 39 1/4 in., in original frame, together with a hand-colored engraving of the painting by J.C. Armytage for the Battles of America, volume II, New York, 1878. [$3000/5000]
Note: The Battle of Buena Vista was one of the most crucial battles of the Mexican-American War. On February 23, 1847, after having refused the request to surrender, Major General Zachary Taylor’s army of 5,000 repelled the 20,000 man force of General Antonio Lopez de Santa Ana.

368. A Fine Louisiana Red Cypress Butler’s Pantry, 19th c., the upper section with a molded cornice, feather etched glass paneled doors, on a cupboard base with pull out slides and doors below, retaining original hardware and finish, height 106 1/4 in., width 84 in., depth 25 1/2 in. [$3000/5000]
Provenance: Removed from an 1870s St. Charles Avenue Mansion.

369. A Southern Maple and Walnut Jackson Press, early 19th c., the projecting top above cutlery and deep drawers with a bottle drawer on each side, the three lower drawers flanked by ropetwist columns with Ionic capitals and ending in bulbous turned legs, the skirt with conforming ropetwist molding, height 52 in., width 51 1/2 in., depth 24 1/4 in. [$4000/6000]
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 cabinet makers 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.

370. A Louisiana Cypress Bench, early 19th c., mortise construction, beaded skirt, shaped legs, height 17 3/4 in., length 69 in. width 10 1/2 in. [$800/1200]

371. A Good Antique Acadian Cypress Petite Armoire, late 18th c., having a molded top, two paneled doors opening to later shelves, over a shaped, scalloped apron and cabriole legs, with layers of old crazed paint, length 55 in., width 38 in., depth 18 1/2 in. [$4000/6000]
Reference: The inward turned cabriole legs seen on this example are very similar to those used in a cherry corner cabinet from the collection of George Crozat illustrated in Jessie Poesch, Early Furniture of Louisiana, p. 65, pl. 46.

372. A West Indies Hardwood Planter’s Chair, 19th c., having a scrolled crest, tapered leg rests, sabre legs to the rear and bulbous turned legs to the front, fitted with canvas upholstery, height 33 in., width 24 1/2 in., depth 24 in. [$1500/2000]

373. A Southern Federal Inlaid Walnut Huntboard, 19th c., Piedmont, Georgia, the breakfronted top over a conforming case with three cockbeaded short drawers over two deep drawers flanking a central cupboard, square tapering legs, the whole with lozenge and string inlay, pegged construction, original brasses, height 42 in., width 62 in., depth 24 1/2 in. [$12000/18000]

374. A Southern Federal Black Walnut Work Table, early 19th c., attributed to Joseph Freeman, Gates County, North Carolina, square top, frieze drawer, square tapering legs, pegged construction, height 32 1/2 in., width 27 in., depth 25 1/2 in. [$1800/2500]

375. A Pair of Antique Louisiana Vernacular Cypress Washstands, 19th c., with towel bars, frieze drawer and Gothic paneled cupboard doors, bracket feet, height 35 in., width 24 in., depth 17 in. [$1000/1500]
Provenance: Albania Plantation, Jeanerette, Louisiana.

376. A Louisiana Federal Mahogany and Cypress Armoire, c. 1820, having a later cove molded cornice over plain frieze, molded paneled doors, chamfered stiles, raised on well turned tapered legs, the interior with a belt of drawers, height 85 in., width 59 5/8 in., depth 23 3/4 in. [$25000/35000]
Provenance: The Turnbull-Bowman family of Rosedown Plantation, St. Francisville, Louisiana.
Note: The armoire’s date of facture precedes the construction of Rosedown. It must have come from one of this important West Feliciana Parish family’s earlier homes, possibly Inheritance Plantation (c. 1783), Locust Grove Plantation (c. 1805, later called Highland), or DeSoto Plantation.

w 377. A Pair of American Federal Mahogany Side Chairs in the Hepplewhite Taste, early 19th c., New York, shield form backs, ample bowed seats, square tapering legs, maple and cherry secondary woods, removal of upholstery reveals evidence of old swag-form tack decoration, height 34 in. [$1000/1500]

378. A Southern Walnut Sugar Chest, 19th c., the hinged lid with molded edge opening to a divided interior with two compartments and a till, raised panel sides and tall French feet, height 34 in., width 36 in., depth 19 in. [$2500/3500]

379. A Spanish Colonial Pine Cabinet, late 18th c., the scalloped crest above paneled doors, interior with original “olive jar” storage shelf at the center on a scalloped bracket foot base, retaining an old red wash, height 38 in., width 46 in., depth 18 in. [$2500/3500]

w 380. An American Cast Iron Eagle, seated on a rocky perch with wings outspread, height 14 1/2 in., width 18 in. [$500/750]

w 381. An American Cast Iron Mantel Surround in the Classical Taste, mid-19th c., the frieze centered with a sea goddess in a scallop shell drawn by horses trailing water nymphs, the fire box flanked by classical maidens bearing baskets of fruit and flowers. [$1200/1800]
Note: An identical cast-iron fire box surround is at Hampton National Historic Site, Baltimore County, Maryland, 35 1/8 in. x 41 1/8 in.

382. An Antique American Carved Walnut Bassinette, 19th c., of rectangular form with scalloped splats connected to a solid bottom, ending in shoe feet, retaining traces of whitewash or paint, height 21 1/2 in., width 30 1/2 in., depth 18 1/2 in. [$1200/1500]

383. A Louisiana Federal Cherrywood Work Table, early 19th c., the rectangular top above scratch beaded skirt with drawer, raised on square chamfered legs connected by an H stretcher, height 30 in., width 58 in., depth 34 3/4 in. [$9000/12000]
Note: This classic French form is found often in Quebec and Nova Scotia, but is a rare survivor in Louisiana.

w 384. A Set of Six American Painted and Stenciled Windsor Side Chairs, mid-19th c., inscribed “Made for Mrs. Mary, Brockport, 1848”, each crest and splat with stenciled flowers, plank seat and splayed turned legs connected by stretchers, oxidized paint and stenciling. [$1000/1500]

385. Clarence John Laughlin (American/Louisiana, 1905-1985), "Tender Shadows, Waverly Plantation, West Feliciana Parish", silver gelatin print, negative date October 17, 1946, print c. 1946-1950s, 41 1/4 in. x 55 in, unframed.
Provenance: Collection of Laughlin Family, Waveland, Mississippi, to the present owner. [$7000/9000]
Note: "Tender Shadows" is part of a series of photographs Laughlin pursued from 1939-1941 and again after the War's end, in which he aimed "to rescue some of the tragic and poetic beauty" of Louisiana plantation homes. His book Ghosts Along the Mississippi (originally published in 1948) collected this work and presents an unforgettable visual record of these structures, including many which have since vanished. Waverly Plantation burned c. 1970.
References: C.J. Laughlin, Ghosts Along the Mississippi, revised ed., New York, 1961; John Lawrence and Patricia Brady, Haunter of Ruins: The Photography of Clarence John Laughlin, Boston, 1982.

386. Clarence John Laughlin (American/Louisiana, 1905-1985), “Worship of Black”, silver gelatin print, negative date June 28, 1941, print c. 1946-1950s, 40 in. x 30 in., unframed, dry mounted. [$4000/6000]
Provenance: Collection of Laughlin Family, Waveland, Mississippi, to the present owner.
Note: During World War II, Clarence John Laughlin worked as a photographer, first for the U.S. Signal Corps and later for the Office of Strategic Services. With access to the military’s photography equipment for oversized aerial photographs, Laughlin experimented with his art photographs on oversized paper in 1944 and 1945. After his return to New Orleans in 1946, he occasionally produced large-scale photographs. A selection of his oversized photographs of Louisiana plantations was displayed at Godchaux’s Department Store on Canal Street. Today those photographs are in the collection of the New Orleans Museum of Art.
“Worship of Black”, which features Laughlin’s recurring motifs of a veiled female figure and decaying architecture, is part of his series “Poems of the Interior World”. Laughlin wrote of this series, begun as war loomed in 1939, as his “most original and difficult project “ in which he attempted to symbolically express the fear and confusion of modern life. “Worship of Black” uses the same ruined mantelpiece and model, Beatrice Prendergast, as “The Enigma of Transition” and “The Unborn”; the latter two are published in Visionary Photographer as plates 46 and 47.

387. Theodore “Fonville” Winans (American/Louisiana, 1911-1992), “Before the Blow, Grand Isle, La”, silver gelatin print, signed and dated “1931” lower left, pencil titled, dated “1931” and estate numbers “Ltd. #16”, “011A” and “102” and copyright 1991 en verso, 16 in. x 20 in., unframed. [$2500/3500]
Note: In this scene of typically extreme south Louisiana weather, Fonville’s father waits as a storm closes in on Grand Isle.

388. Theodore “Fonville” Winans (American/Louisiana, 1911-1992), “Ferry Landing/Port Allen”, silver gelatin print laid down on board, signed and dated “1938” lower right, printed title label with file number “121A” and print no. “14” and copyright 1988 en verso, 16 in. x 20 in., unframed. [$2500/3500]
Note: From 1938-1940, Fonville worked as a photographer for the state of Louisiana.

389. Theodore “Fonville” Winans (American/Louisiana, 1911-1992), “Angola Hoers”, silver gelatin print, signed and dated “1938” lower left, estate number “065A” and pencil numbered edition 16/50 en verso, 16 in. x 20 in., unframed. [$2500/3500]
Note: The Louisiana State Penitentiary at Angola, West Feliciana Parish, is an 18,000 acre tract acquired from plantation owners between 1880 and 1916. Inmates today grow some four million tons of produce on “The Farm”. Fonville, who worked as a photographer for the state of Louisiana from 1938-1940, made this striking image of female inmates working in the fields under the looming figure of their mounted guard. None of the figures look at the photographer; the guard is a faceless symbol of authority, while the profiles of the women, silhouetted against the open sky, seem to look forward to endless days of labor.

390. Attributed to Achille Peretti (Italian/American/New Orleans, 1853-1923), “Irish Channel Woman”, oil on canvas, unsigned, label from Henry M. Taws, Philadelphia en verso of stretcher, 20 in. x 16 in. [$3000/5000]

391. Alphonse Louis (French/New Orleans, mid-19th c.), “Barracks Signal Corps, U.S.A.”, watercolor, signed “Alphonse Louis, New Orleans” lower right and titled en verso of frame, 10 3/4 in. x 13 in. [$3000/5000]
Provenance: According to the inscription en verso “_warehouse, New Orleans, where J.E.Taylor was stationed with the U.S.A. Signal Corps, 1864. A French painter’s gift.” Descended in the Taylor family, New Hampshire.
Note: It appears that the French artist Alphonse Louis visited New Orleans during the Union occupation of the port. While in the city, he created a series of informative and charming watercolors of the sights along the Mississippi River. In these galleries, another watercolor from Louis’s series entitled “Along the Mississippi River” was sold (Dec. 4, 2004, lot #562)

392. A Hyde and Goodrich Coin Silver Ladle, New Orleans, wc. 1828-1861, fiddle thread pattern, shallow circular bowl, period monogram on reverse, length approx. 14 1/4 in., weight approx. 5 1/2 troy ozs. [$1500/2500]

393. Seven Coin Silver Tablespoons, Hyde and Goodrich, retailed New Orleans, wc. 1828-1861, fiddle typt upturned pattern, period monograms on reverse, length 8 1/2 in., weight 11.65 troy ozs. [$1000/1500]

394. A Good Hyde and Goodrich Coin Silver “Agricultural Premium” Julep Cup, New Orleans, wc. 1828-1861, with molded rim and foot, engraved “Agricultural Premium 1856”, height 3 1/2 in., weight 4 troy ozs. [$1800/2500]
Note: A Hyde and Goodrich Agricultural Premium beaker is illustrated in Crescent City Silver, pl. 2.

w 395. Two American Coin Silver Salt Shovels, one Hyde and Goodrich, New Orleans, wc. 1828-1861; the other A. Rasch and Co., Philadelphia, c. 1820, length 3 3/4 in. and 4 1/4 in. [$200/400]

396. A Mississippi Coin Silver Waste Bowl, Emile Profilet, Natchez, c. 1830, wc. 1823-1868, marked “E. Profilet” in a rectangle, with bands of molded scroll decoration at rim and foot, height 6 in., diameter 6 1/2 in., approximate weight 18 troy ozs. [$3000/4000]

397. A Mobile Coin Silver Ladle, marks of James Conning, Mobile, c. 1850, upturned fiddlethread handle with wavy shoulders, elliptical bowl and with engraved script initials on the upper face “M B G”, stamped on the reverse “J.Conning” in a rectangle, and “Mobile” in a rectangle along with a curious mark, length 13 3/4 in., weight 7.55 troy ozs. [$2500/3500]

398. A Philadelphia Federal Coin Silver Soup Ladle, by Joseph Richardson, Jr., Philadelphia, c. 1800, “JR” in a rectangle struck three times on the back of the upper handle, down curved oval handle with a short mid rib, rounded drop and a circular bowl, the handle engraved “M F”, length 13 in., 7 ozs. 3 dwts. [$2500/3500]
Reference: Martha Gandy Fales, Joseph Richardson and Family, p. 192, fig. 175, JR used in 1797, p. 194, fig. 177, p. 182 drops.

399. A Rare Philadelphia Federal Coin Silver Coffeepot, c. 1800, by James Musgrave (w. 1794-1813), marked “Musgrave” in script in a conforming surround, struck four times under the foot, plain broad fluted urn form on a pedestal foot, beaded borders, urn finial, ebonized scroll handle with a thumbpiece, engraved script initials “MM” on the side, height 15 in., width 12 1/4 in., weight 42.75 troy ozs. [$2500/3500]

400. A New Orleans Coin Silver Sauce Ladle, A. Himmel Silverware Manufactory, New Orleans, c. 1870, single faced engraved design, bearing the incised marks “Coin A.H. N.O”, repaired break at handle and 1/4 in. crack at bowl, height 8 1/4 in. [$300/500]