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Information below is the lot/description information from our Louisiana Purchase Auction, October 12 & 13, 2002. 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 401-500

401. An Antique American Classical-Style Ebonized and Gilt-Decorated Music Stand, in the manner of Hugh & John Finley, Baltimore, the lyre-support with attached brass candle holders, twist-turned shaft with acanthus carved bottom, raised on arched sabre legs, the whole with distinctive gilt grape vine decoration, height 48 1/2 in., width 15 in., depth 10 in. [$2500/3500]
Note: See plate XI, cat. #150 Furniture in Maryland, 1740-1940.
402. A Good American Classical Mahogany Etagere, c. 1830, Boston, the top surmounted by finials, baluster graduated supports, a base of two molded drawers, raised on bracket feet with casters, height 62 in., width 23 in., diameter 18 in. [$1200/1800]
*403. A Set of Four American Late Classical Ebonized and Gilt Stenciled Sidechairs, 19th c., scalloped ivy leaf stenciled crests with slatted vertical supports, cane seat, turned stiles and legs with stretchers. [$600/800]
404. An American Late Federal Extension Dining Table, c. 1805-1820, Baltimore, each ‘D’ shaped top opening to receive leaves, the frieze on boldly reeded and turned legs ending in ball feet, formerly a two part banquet table, now with four, depth 41 1/2 in. [$3000/5000]
405. A Pair of Charles X Patinated Bronze Candleholders, c. 1825-1830, each standard supporting a drip pan and candle nozzle, the trio of animal paw feet on concave plinth, unelectrified, height 9 3/4 in. [$1000/1250]
406. An American Classical Carved Mahogany Games Table, c. 1819-1824, Boston, in the manner of Isaac Vose, rectangular top above paneled frieze, the pillar support and shaped plinth raised on scrolled feet with casters, height 28 1/2 in., width 36 in., depth 18 1/2 in. [$2000/3000]
407. A Fine George III-Style Mahogany and Figured Walnut Sidechair, mid-19th c., the serpentine crestrail with eagle’s head terminals above cartouche-form splat embellished with scrolling leaves and bellflower pendant chain, old needlepoint upholstered seat raised on cabriole legs carved with avian heads, ending in hairy paw feet, height 40 in. [$1800/2500]
408. A Hepplewhite Mahogany and Inlaid Pembroke Table, late 18th c., the oval cross-banded top above a bowed drawer and opposing blind drawer, tapering square legs ending in cup casters, height 27 3/4 in., width 18 1/4 in., depth 31 3/4 in., ext. width 38 1/4 in. [$3000/4000]

409. A Fine American Classical Figured Mahogany Armoire, c. 1830, Baltimore, with stepped flared cornice above a pair of doors flanked by distinctively carved and reeded pilasters; opening on one side to reveal a fitted interior of centered linen shelves above three cased drawers; the other side open hanging space, raised on ring turned ball feet, height 87 in., width 66 in., depth 28 in. [$4500/6500]
*410. A Fine Pair of Anglo-Irish Cut Glass Compotes, mid-19th c., each everted rim cut in a “Strawberry and Fan” pattern, the circular bowl raised on a faceted stem resting on a lobed spreading foot, height 7 1/2 in., diameter 9 3/4 in. [$1800/2400]
*411. A Large Pair of Anglo-Irish Crystal Urns, each domical lid with faceted spherule finial, the geometric decorated urn raised on a faceted stem, the square foot cut with a blaze star, height 14 1/2 in. [$1000/1500]
*412. An Amusing French Patinated Bronze Tobacco Coffer, c. 1865-1885, the pinned slanting lid surmounted by a monkey holding a cigar and seated upon the back of a tortoise, the rockwork container sided by a conch shell match safe, the foliated basin for ashes, height 13 in., width 8 in. [$500/750]
413. George Washington Sully (American/New Orleans, 1816-1890), “Red Headed Turkey Vulture No. 2”, watercolor on paper, initialed “GWS” lower right, titled lower center, 7 7/8 in. x 6 3/4 in., attractively framed and matted. [$300/500]
*414. George Washington Sully (American/New Orleans, 1816-1890), “New Callagham on the Road to the White Sulpher [Springs]”, watercolor on paper, titled en verso, 10 in. x 15 1/8 in., attractively framed and matted. [$1000/1500]
415. George Washington Sully (American/New Orleans, 1816-1890), “Cooper Hawk No. 6”, watercolor on paper, initialed “GWS” lower right, titled lower center, 9 7/8 in. x 6 5/8 in., attractively framed and matted. [$300/500]
415A. George Washington Sully (American/New Orleans, 1816-1890), "California Turkey Vulture No. 3, Plate 246", watercolor on paper, initialed "GWS" lower center, 8 5/8 in. x 6 7/8 in., attractively framed and matted. [$300/500]

*416. Edward Livingston (American/New Orleans, 1837-1898), “Mountain Landscapes”, a pair of watercolors on paper, unsigned, each sight 4 in. round, attractively framed and matted alike. [$1000/1500]
417. An Interesting American Cast Stone Figure of a Setter, late 19th c., on a rectangular cast stone base, height 20 in., width 28 in., depth 16 1/4 in. [$2500/3500]
Provenance: Found at an early 20th century Boy Scout Camp, Pennsylvania.
418. An American Grain-Painted Work Table, early 19th c., Mid-Atlantic, in the Sheraton taste, the foliate gilt painted top over conforming frieze drawer with opalescent glass pulls, raised on turned legs, with gilt striping, height 26 1/2 in., width 18 1/4 in., depth 17 in. [$400/600]
419. A Rare American Walnut Pedestal Cabinet, c. 1845-1855, the white marble top above an ogee molded frieze drawer over cupboard door enclosing a shelf, flanked by canted corners with acanthus molding, on a blocked molded base, the whole with scroll carving, height 32 in., width 15 3/4 in., depth 15 3/4 in. [$1000/1500]
Provenance: Found together with “The Other Lincoln Bedroom Suite...”, Oaklands , Laurel, MD.

420. A Fine American Rococo Carved Rosewood Bedroom Set, mid-19th c., Baltimore, consisting of a bedstead, a dresser, and a washstand, the bed with flamboyant arched rocaille carved headboard, massive turned posts with foliate and conforming footboard; the white marble top dresser with carved mirror and scroll supports; the washstand with marble superstructure, frieze drawer, and side cupboards each raised on bracket feet, bed height 98 in., width 87 in., length 96 in., washstand height 32 in., width 36 in., depth 20 in., dresser height 95 in., width 54 in., depth 27 in. [$18000/25000]
Note: Baltimore Rococo Revival furniture is best described as exuberant and robust. Incorporating highly elaborate carvings, large asymmetric foliate cartouches, applied and integral turnings, scrolls and other architectural features, it stands apart from the conventional Rococo interpretations. A wardrobe illustrated in Furniture in Maryland 1740-1940 by Gregory Weidman, plate 256, page 260, has a strikingly similar and distinctive crest relating strongly to that of the bed offered in this lot. Interestingly, it also bears a provenance of historical importance: it was owned by Jerome Napoleon (Bon-Bon) Bonaparte, who married Elizabeth Patterson and resided in Baltimore. The influential cabinetmaker Robert Renwick is suggested in attribution to this winged armoire. However, Henry W. Jenkins (1814-1878) should not be overlooked as a possible maker. His work includes desks for the delegate chambers at the State House in Annapolis.
Provenance: This suite of rosewood furniture was purchased in 1932 at the Bankruptcy liquidation sale of the Washingtonian Hotel by John W. Staggers, a prominent Supreme Court Attorney, and until recently remained in “Oaklands”, his family’s estate located outside Baltimore.
This distinctive bedroom suite was part of the furnishings of the Presidential suite in the Washingtonian Hotel located across from the White House. President Abraham Lincoln is said to have lodged in the Presidential suite during the Civil War from time to time for security reasons. Thus this suite has become known as Lincoln’s “other bedroom suite”.
References: Washington Times and The Washington Post.
421. An American Rococo Mahogany Washstand, c. 1840-50, New Orleans, the cupid’s bow outlined splash rail and returns faced with inset white marble, the rectangular top inset with conforming marble, the frieze drawer above a pair of paneled cupboard doors sided by spiral turned colonettes, the rectangular plinth on bracket feet, height 42 in., width 37 1/2 in., depth 21 in. [$1000/1500]
Note: For a nearly identical washstand, see American Furniture of the Nineteenth Century 1840-1880, by Dubrow, p. 137. Part of a suite in the Gallier House collection, it is a rare example documented to the shop of Prudent Mallard.

422. An American Late Classical Flame Walnut Secretaire Abattant, c. 1840, New York, stenciled “J. and J.W. Meeks, makers, Vesey St., New York”, in the Restauration taste, the white and veined rectilinear marble top above a cove molded frieze, the fall front lid opening to reveal a series of open compartments and a bank of three drawers faced in satinwood, the lower portion with a pair of paneled doors, the plinth on bun feet, height 53 in., width 36 in., depth 17 1/2 in. [$4000/6000]
Note: For more information on Meeks during the Restauration period, see American Furniture of the Nineteenth Century, by Otto, pgs. 114-118.
*423. A Fine American Neo-Grec Gilt Incised, Ebonized, Inlaid Rosewood and Walnut Armchair, c. 1880, the oval back with uprights inlaid with bellflowers, gilt incised carving and ebonized trim, arms with conforming seat rail, X-form legs joined by a turned, blocked stretcher. [$700/900]
424. An American Renaissance Rosewood Center Table, mid-19th c., the white marble top above a frieze with floral and rocaille carved medallion drops, the faceted stem with radiating scrolled acanthus carved brackets, turreted scalloped plinth base ending in disc feet and casters, height 30 in., diameter 36 in. [$1000/1500]
425. An Elegant Pair of American Turned Walnut Library Armchairs, c. 1840-1850, probably New York, in the Elizabethan taste, now fitted with burgundy cushions and armrests. [$1000/1250]
426. Alexander John Drysdale (American/New Orleans, 1870-1934), “Louisiana Bayou”, oil wash on board, signed lower right, sight 20 in. x 29 1/2 in., in a period frame. [$3000/5000]
Provenance: Collection of Dr. Howard A. Buechner, author of Drysdale (1870-1934), Artist of Myth and Legend.
427. Alexander John Drysdale (American/New Orleans, 1870-1934), “Louisiana Bayou Scene”, oil wash on board, signed lower right, W.E. Seebold Fine Art Dealer, New Orleans label en verso, sight 19 3/4 in. x 29 1/4 in., in a period frame. [$2500/3500]
428. An American Yellow Pine Work Table, mid-19th c., Southern, the molded top of three wide boards, the apron with notched corners, ring-turned tapering legs, now with old black paint, height 35 in., length 95 in., width 33 in. [$1200/1800]
Provenance: The Bybee Collection, Houston, Texas.
429. An American Walnut Armoire, c. 1835-1850, New Orleans, in the manner of Dutreuil Barjon, the rectangular ogee molded cornice above a frieze centrally decorated with scrolling leaves, the paneled doors enclosing a void interior and over a pair of drawers, on bracket feet, height 91 in., width 63 in., depth 22 in. [$3000/5000]
Provenance: A Vieux Carre’ Museum collection.
430. An American Late Classical Mahogany Banquet Table, c. 1830-1845, the oval top opening to receive six leaves, two having an integral frieze; the pedestal supports on a split concave plinth raised on volute foliate carved feet, the leaves and an additional pair of supports of a later date, height 30 1/2 in., width 57 1/2 in., depth 46 in., extended length 145 in. [$5000/7000]
431. A Good American Classical Mahogany Bowfront Chest, c. 1820-1830, in the manner of Joseph Barry, Philadelphia, the rectangular top above a frieze fronted by recessed circle flanked by acanthine panels, the three lower graduated bowfront drawers sided by Ionic columns, the plinth raised on ring-turned feet, height 42 3/4 in., width 44 in., depth 24 1/4 in. [$3000/5000]
Note: This chest is closely related to the work of Joseph B. Barry, a noted Philadelphia cabinetmaker. Although having a larger case and with bolder columnar supports typical of the late 1820’s to early 1830’s it retains the bowed front design and ring-turned feet. Similar examples are illustrated in “Classical Taste in America, 1800-1840”, by Wendy A. Cooper, and in Furniture in Maryland, 1740-1940, by Geogory R. Weidman.
432. A Pair of American Late Classical Mahogany Games Tables, c. 1830-1850, each rectangular lift-top above an ogee molded frieze, the lyre-form support raised on a rectangular plinth, resting on scroll feet, height 30 1/4 in., width 28 1/4 in., depth 18 3/4 in. [$1800/2800]
433. An American Mahogany Bowfront Dressing Mirror, c. 1820, in the Sheraton taste, having an adjustable rectangular mirror with turned supports, two drawers and raised on button feet. [$200/400]
Provenaaance: Succession of Louis J. Healy, New Orleans
*434. An American Hepplewhite Carved Mahogany Looking Glass, surmounted by a carved gilded urn with floral sprays, carved scrollwork arched crest set with oval gilded rosette, string inlaid and gold lined mirror framework, scroll-carved base, retaining original back board, and inscription en verso, height 44 in., width 18 in. [$400/600]
435. A Good American Federal Inlaid Looking Glass, late 18th/early 19th c., the antique plate within an inlaid banded frame, the scrolled crest centered by satinwood inlay of an urn with floral bouquet, scrolled lower brackets and scalloped pendant base, height 37 1/2 in., width 19 1/2 in. [$2000/3000]
Note: A very similar example is illustrated on p. 2559, plate P6253, American Art from the Israel Sack Collection, vol. 10.
436. An American Mahogany Mantel Clock, c. 1830-1845, bearing a paper label inscribed “Samuel Terry Patent Clocks”, the scrolled pediment surmounted by gilt brass finials, the door containing a reverse gilt and black decorated glass pane, the sides ornamented by narrow Doric columns, on bracket feet, height 32 in. [$2000/3000]

437. A Fine American Federal Inlaid Cherrywood Corner Cupboard, c. 1800, probably Eastern Virginia or North Carolina, in two parts, the molded cornice above a diamond strung frieze, the pair of paneled doors enclosing scalloped shelves and drawers, chamfered corners with applied turned bosses and geometric moldings, the conforming base with scalloped apron and tall bracket feet, height 84 in., width 46 in., depth 22 in. [$6000/8000]
438. An American Classical Mahogany Work Table, c. 1825-1835, the rectangular top above a torus molded frieze drawer, the recessed drawer retaining its original repousse’ brass ring pulls and flanked by engaged columns, the turned legs carved with acanthus, ending in brass cup casters, height 20 in., width 21 3/4 in., depth 18 in. [$1500/2000]

439. An American Cherrywood Armoire, early 19th c., Louisiana, the later rectangular molded cornice above a pair of paneled doors, the original interior enclosing a hanging compartment, a series of shelves and a central pair of drawers, the plinth raised on boldly turned legs ending in restored brass feet height 91 1/2 in., width 53 in., depth 22 in. [$8000/12000]

440. A Diminutive Southern Hepplewhite Walnut Slant Front Desk, c. 1800, the fall front top opening to a fitted interior over graduated drawers, raised on bracket feet, yellow pine and tulip poplar secondary woods, height 27 1/2 in., width 33 1/2 in., depth 18 in. [$1500/2500]
441. A Fine American Rococo Carved Walnut Tester Bed, mid-19th c., probably New Orleans, having a flared ogee molded tester, tapering clustered column posts with blocked waist, the arched scrolled and paneled headboard centering a floral crest, scalloped rails and conforming footboard, in estate condition, height 114 in., width 55 in., length 74 in. [$15000/20000]
Note: The origin of antebellum bedsteads found in Louisiana has long been cause for speculation as New Orleans was a center for retailing furnishings and manufacturing 1840-1860. This bed shares stylistic similarities to documented examples from Prudent Mallard’s shop, which was the most fashionable of the numerous cabinetmakers and retailers that existed in New Orleans at the time. For further information see the Magazine Antiques, May 1997, “The 19th Century Furniture Trade in New Orleans” by Stephen G. Harrison, pages 748-759.
Provenance: Descended to the present owner through the family of Captain Joseph Alcide Bouanchaud, C.S.A. (1838-1886) of Pointe Coupee, Louisiana. Capt. Bouanchaud was a Confederate hero and later a Judge. There is a monument in the Confederate Memorial Park, Vicksburg, Miss., dedicated to the courageous soldiers of the Pointe Coupee Artillary and Capt. Bouanchaud.
442. An Antique American Carved Mahogany Tester Bed, the plain tester supported by reeding, acanthus, swag and tassels with carved posts, ending in square tapering Marlbrough legs, the headboard with elliptical crest above a shaped lower board, height 84 in., width 53 in., length 68 in. [$2000/3000]
443. An American Cherrywood Corner Cupboard, c. 1820, Port Gibson, Mississippi, the architectural stepped molded cornice over mullion glazed doors enclosing original shelves flanked by canted corners, the cupboard doors enclosing a shelf, a scalloped skirt, and raised on bracket feet, height 93 in., width 57 in. [$4000/6000]
444. A Pair of American Cast Iron Andirons, late 19th c., each upright supporting the figure of George Washington, height 20 1/2 in., width 9 in., depth 16 in. [$1000/1500]
445. An American Classical Rolled and Cast Brass and Cast Iron Fireplace Surround, c. 1830-1850, the columnar uprights surmounted by spherule finials, the recessed shelf containing a humidifier and above a rodded guard and fender, on projecting plinths, height 42 in., width 45 in., depth 11 1/2 in e. [$800/1200]
446. A Pair of American Coin Silver Sugar Tongs, c. 1820, William Mitchell, Boston, together with a pair of American coin silver tongs, marked “MP”, and a pair of Irish tongs, 1801, Dublin, J. Brady, fiddle handles with engraved script initials, length 6 in. to 6 1/2 in., weight 3 troy ozs. 18 dwts. [$100/125]
447. A Pair of American Coin Silver Sugar Tongs, by Nicholas J. LeHuray, Jr. (wc. 1821-46), Philadelphia, plain fiddle with shell grips, engraved in script “Watkins, Jr.” for Samuel Pote Watkins, Jr., together with two late 18th/early 19th c. shield-form silver bookmarks, both engraved “M.C.” for Mary Leonard Clark of Gloucester Co., NJ, tongs 6 3/4 in., bookmarks 1 1/2 in. and 2 in. (3 pcs. total). [$150/250]
448. An American Coin Silver Dessert Spoon, J. Conning, Mobile, Ala., probably made in New York, marked “J. CONNING” and “MOBILE” in rectangles, to the right of a curious mark, engraved script initials “G.S.K.” on the obverse. [$100/200]
*449. A Set of Five American Coin Silver Forks, Jean Noel Delarue, New Orleans, w.c. 1802-42, upturned fiddle typt handle, marked “Delarue” in elongated oval flanked by bee in octagonal cartouche, no shoulder, and with engraved initials “.J.S.” on the reverse, length 7 7/8 in., weight 11 troy ozs. 17 dwts. [$800/1200]
450. A Kentucky Coin Silver Mint Julep Cup, by Asa Blanchard, Lexington, KY, c. 1830, plain tapered cylindrical form with applied molded lip and footbands, engraved in script “WM”, marked on bottom “A. BLANCHARD” in a rectangle, height 3 5/16 in., weight 4 ozs. 17 dwts. [$3000/5000]
Note: See Boultinghouse, Marquis Silversmiths of Kentucky, 1785-1900, p. 299, mark 29 D without pseudo hallmark.
451. A Rare Pair of American Coin Silver Neo-Classical Covered Vegetable Dishes, William Forbes, c. 1840, for Ball Tompkins & Black, New York, w.c. 1839-51, oval forms with Classical leaf borders, engraved crest above initials “E.R.” on covers and bases, the bases marked “BALL, TOMPKINS & BLACK” in an arc above “SUCCESSORS TO” in a rectangle above “MARQUAND & CO” in a complementary arc, between a pair of eagles, above “W.F.” in a rectangle, “NEW YORK” in a rectangle, and “W.F. in a rectangle, height 5 1/2 in., width 12 1/4 in., combined weight 78 troy ozs. 11 dwts. [$4500/6500]
452. A Three-Piece American Coin Silver Tea Set, Philadelphia, c. 1810, marked “Lewis and Smith” in an intaglio mark, consisting of teapot, covered sugar and creamer, oblong bulbous forms with gadrooned borders and urn finials, engraved script initials, teapot height 7 1/4 in., combined weight 54 troy ozs. [$3000/5000]
*453. A Set of Six American Coin Silver Tablespoons, marked “Lewis & Smith, Philadelphia, downturned fiddle typt pattern with unusual shoulders, single drop, engraved script initials on the upperface, retains same monogram as the “Lewis and Smith” tea set, previous lot, length 9 1/2 in. [$800/1200]
454. Two Pairs of American Coin Silver Sugar Tongs, Issac Reed and Son, Philadelphia, c. 1830-50, fiddle handle with shell grips, together with tongs by W.I. Tenney, New York, c. 1831-52, shell-decorated fiddle handle with shell grips, both with engraved script monograms, length 6 1/4 in. and 6 3/4 in., weight 3 troy ozs. 2 dwts. [$150/250]
455. A New Orleans Coin Silver Presentation Water Pitcher, by Adolphe Himmel, for Hyde & Goodrich, c. 1858, pyriform body on a spreading circular foot, repousse’ scrolling foliage and flowers covering most of the body and foot, ornate cast handle, scroll and shell border just under rim, on foot and at the juncture of the body with the base, large “C” scroll cartouche with script engraved presentation “W.S. Pike Jr./to his friend and physician/Dr. T.J. Buffington./July 1858.”, marked “HYDE & GOODRICH” incised in arc, above “H” incised, above “NEW ORLEANS” incised in complementary arc, height 13 1/8 in., weight 30 troy ozs. 13 dwts. [$8000/10000]
Note: A related Himmel pitcher was sold in these sales rooms, lot 356, June 2, 2001.
*456. A Set of Eight Coin Silver Fiddle Typt Tablespoons, c. 1850, Louis Muh, New Orleans, probably made by Henry Hebbard and Co., New York, upturned handle with wavy shoulder, engraved on the reverse in script “McArthur”, marked “Louis Muh” in rectangle and with pseudo hallmarks, length 8 7/16 in., weight approximately 20 troy ozs. [$800/1200]
457. A Four Piece Group of American Coin Silver Fiddlethread Flatware, probably Henry Hebbard, New York, c. 1850 and retailed by Louis Muh, New Orleans, consisting of 2 forks and 2 tablespoons, engraved in script on the reverse “S.U./inf/Pen”, forks length 8 7/16 in., spoons length 8 1/2 in., weight 7 troy ozs., 16 dwts. [$400/600]
Provenance: Ursuline Convert boarding school, New Orleans. Related flatware is included in The Historic New Orleans Collection exhibition, “A Visible Pesence, a Legacy of Service, 275 Years of the Ursulines in New Orleans”.
458. An American Coin Silver Salver, rubbed mark (A.) Rasch & Co., Philadelphia, mid-19th c., gadrooned rim, the center engraved with Aesthetic scrollwork motifs and the initials “S.E.G.”, resting on three paw feet, height 3 1/4 in., diameter 10 3/4 in., weight 25 troy ozs. [$2000/4000]
459. A Good Pair of French Empire Silverplate Candlesticks, early 19th c., circular bases supporting tapered octagonal shafts, urn shaped nozzles with detachable bobeches, all with classical stylized leaf borders, height 10 1/2 in. [$1200/1800]
Note: A pair of silver candlesticks, illustrated #66 in Crescent City Silver, pub. 1980, The Historic New Orleans Collection, are of closely-related form, and have nearly identical circular bases.
460. A Sterling Silver Model of the Steamboat “MISSISSIPPI”, raised on an oblong domed base with embossed waves representing water, mounted on an ebonized plinth, overall height 19 in., length 20 1/2 in. [$2000/3000]
461. Jacques Guillaume Lucien Amans (French, 1801-1888, active New Orleans, 1836-1858), “Portrait of a Louisiana Gentleman”, oil on canvas, signed “Amans” upper left, 36 in. x 28 3/4 in., in a period frame. [$8000/12000]
462. John F. Francis (American/Philadelphia, 1808-1886), “Portrait of a Young Girl Dressed in White”, oil on canvas, signed and dated “John F. Francis/Pinxit July 1836” lower left, 30 in. x 25 in., in a period cypress frame. [$4000/6000]
Note: Largely a self-taught artist, John F. Francis has earned a reputation as an important nineteenth century American painter of still lives and portraiture. As an itinerant portrait painter, Francis traveled to Nashville, Washington D.C., Delaware and eastern Pennsylvania. His paintings were exhibited at the Pennsylvania Academy of Fine Arts and Philadelphia Art Union. This beautifully rendered portrait of “Young Girl Dressed in White” reflects his delicate use of color and the sensitive handling of the lace work of her dress and sheer glove.
463. Le Bihan (French, 19th c.), “The Sinking of the C.S.S. Alabama by the U.S.S. Kearsage off the Cherbourg Peninsula, June 19, 1864”, oil on canvas, signed lower left, 16 1/2 in. x 24 in. [$10000/15000]
Note: Under the command of Admiral Raphael Semmes (1809-1877) the Confederate ship C.S.S. Alabama successfully raided, captured and destroyed over eighty Union ships during the Civil War. While the C.S.S. Alabama was laid up in the Cherbourg Harbor off the coast of France for major repairs, the Federal Ship U.S.S. Kearsage trapped her in the port.
Admiral Semmes sailed the still-damaged Alabama out of the harbor and engaged her Union adversary. In the famous battle of June 19, 1864 the Alabama was sunk. This historic painting depicts Semmes and his crew as the English yacht Deerhound, rescued them. The Confederate sailors were taken to England, where the English refused to turn the crew over to Federal authorities. Semmes eventually returned to America and served as a Brigadier-General in the Confederacy. After the war, he was put on trial for escaping after the surrender of the Alabama.
Reference: Humphreys, Anderson Semmes America.
Provenance: Admiral Raphael Semmes, Katherine Semmes Wright, 1937, Electra Wright Larkin, around 1965, A Museum collection, since 1991, to a Semmes family descendant.
464. Ambrose Duval (French, b. ca. 1760-70, active New Orleans 1803-35), “Theodore March”, watercolor miniature on ivory, signed and dated “1817” along lower right edge, 2 3/4 in. x 2 in., in a period gilt brass frame. Note: Ambrose Duval was among the earliest and most talented New Orleans miniature painters working in the prevailing tradition of French neo-classical portraiture. His most important commission was a portrait of Louisiana Governor William Claiborne. [$3000/5000]
465. Hermon Atkins MacNeil (American, 1888-1947), “Albert James, The Slave”, a painted plaster bust, signed en verso “Sketch by H.A. Macneil”, titled and inscribed en recto “The Slave/ Albert James/ Born 1850, owned by Ellis S?anes”, height 11 3/4 in., width 11 1/2 in., depth 8 in. [$5000/7000]
Provenance: Estate of Mae O'Meara, New York, who was given the sculpture by MacNeil's widow. Private collection, Virginia.
Note: Trained in Paris at the Ecole des Beaux-Arts and Academie Julin, Hermon A. MacNeil became renowned for his sculptures of Native American Indians and monumental works. MacNeil distinguished career including teaching art at Cornell University and the Art Institute of Chicago, winning the Rinehart Roman Scholarship and Silver Medal at the 1900 Paris Exposition, exhibiting at the 1904 Louisiana Purchase Exposition, and designing the United States quarter.
This sculpture, “Albert James, The Slave,” is similar in concept to his bronze sculpture “The Slave Block.” MacNeil presented the sitter as an individual with a sense of dignity and personal strength. It is interesting to note that this sculpture is made of painted plaster patinated to look like bronze and has been designated on the verso as a sketch by the artist.
466. Moses Jacob Ezekiel (American, 1844-1917), “Robert E. Lee”, patinated bronze, signed en verso and inscribed “Roma” en verso, resting on a bronze socle and a square plinth, height 8 1/2 in., width 3 3/4 in., depth 3 3/4 in. [$1500/2500]
*467. A Fine Pair of American Brass and Iron “Knife Blade” Andirons, c. 1790, Pennsylvania, together with a spoon, a spade and a hoe; the hollow cast brass urn finial over a plinth of iron and knife blade supports, raised on rounded leg and penny feet, height 21 in. [$800/1200]
468. A Rare Virginia Coin Silver Norfolk Academy Octagonal Cup, Gale & Hayden, New York, 1846, engraved foliate scroll panels flanking presentation inscriptions “Norfolk/Academy/ Feb. 12, 1847” and “Presented/to/W.F. Hopkins/By his/Pupils”, threaded bands at lip and at foot, hollowcast scroll handle, height 3 1/2 in., weight 6 troy ozs. 1 dwts. [$800/1200]
469. A Pair of American Coin Silver Sugar Tongs, early 19th c., by C. Wiltberger, Philadelphia, Pa., together with tongs by Levi Clark, Norwalk, Connecticut, and by J. Bassett, Cortland, NY., various fiddle handles (3 pcs.) total weight 3 troy ozs., 9 dwts. [$150/250]
470. Andrew T. Schwartz (American/Kentucky, 1867-1942), “View of the Hudson River Valley”, oil on canvas, signed lower left, 32 in. x 36 in., in a period frame. [$7000/10000]
471. Anna Mary Robertson “Grandma” Moses (American, 1860-1961), “Farm in Autumn”, 1941, oil on masonite, signed lower left, titled and numbered “222” on original artist label en verso, artist copyright stamp en verso, Hammer Galleries inventory tag 22328-29 en verso, 13 in. x 27 in. [$30000/50000]
Provenance: Hammer Galleries, New York; a private collection, Florida. Illustrated in Otto Kallir, Grandma Moses, 1973, no. 120, page 288 (M. 222) and sold with a copy of the book.
472. Hudson River School, 19th c., “A Lonely Figure at a Mountain Lake”, oil on canvas, unsigned, 14 in. x 20 in., in a attractive period giltwood frame. [$2500/3500]
473. William Forsyth (American/Indiana, 1854-1934), “The Pasture Gate; Pleasant Hill, Shakertown, Kentucky”, watercolor on paper, signed and dated “‘03” lower right, titled en verso by artist, estate stamp and granddaughter’s signature en verso of both painting and frame, 15 1/4 in. x 11 in. [$4000/6000]
Provenance: Collection of William Forsyth family.
Note: Famed Hoosier Group artist, William Forsyth spent the summer of 1903 painting in Shakertown of Pleasant Hill, Kentucky. Forsyth brought his wife and children with him to the Shaker community. From the letters Forysth wrote that summer, the constant care of his young children affected his painting time, and consequently he only completed a small group of paintings during his stay. This charming painting of sheep by the stone pasture gate remains one of the scenic vistas at Shakertown.
474. William Aiken Walker (American, 1839-1921, active New Orleans, 1876-1905), “Male Cotton Picker”, oil on academy board, signed lower left, inscribed in verson “Mr. Walker 134 Cannon Street”, 12 1/4 in. x 6 1/4 in. [$5000/7000]
Note: The address 134 Cannon Street is the home of Walker’s nephew and the place where he died. This painting is to be included in John Fowler’s forthcoming cataogue raisonné.
475. George David Coulon (French/New Orleans, 1822-1904), “Portrait of a Man from the Derbigny Family”, oil on canvas, signed lower right, 24 in. x 20 in., in a period ornate giltwood frame. [$3000/5000]
Provenance: Descended through the family of Louisiana Governor Pierre August Bourguigon Derbigny (1828-1829), who died shortly after taking office.
476. Alexander John Drysdale (American, 1870-1934), “Early Morning on Folse River”, oil on board, signed and dated “1912” lower left, 23 3/4 in. x 17 3/4 in. [$4000/6000]
477. George Louis Viavant (American/New Orleans, 1872-1925), “Louisiana Wild Life: After the Kill, American Bald Eagle with Duck Prey”, oil on canvas, signed en verso, 30 1/4 in. x 25 1/4 in. [$8000/12000]
478. An American Pinewood Table, c. 1830-1845, probably lower Mississippi Valley, the rectangular top above a recessed frieze raised on a tapered “French” leg, retaining original red stained surface, height 30 1/2 in., width 31 in., depth 18 in. [$800/1200]
*479. A Good American Walnut Table, mid-19th c., Southern, probably North Carolina, the rectangular top above a recessed frieze drawer, raising on ring-turned legs, height 29 in., width 25 1/2 in., depth 23 in., note: legs ended out. [$400/600]
*480. A Good American Cherrywood Banquet Table, c. 1820, East Tennessee, in the Sheraton taste, the D-end drop leaf top above figured veneer skirt resting on finely turned tapering legs with tall pointed and turned feet, height 28 1/2 in., width 46 in., length open 73 in. [$1000/1500]
481. English School, 19th c., “Possibly the Children of James Robb of New Orleans”, oil on canvas, unsigned, stamped en verso “Rabin Krueger Gallery, Newark, N.J.”, and handwritten en verso “Children of Mr. James Robb, around 1850”, 30 1/8 in. x 25 1/8 in. [$5000/7000]
Note: New Orleans entrepreneur, politician and art collector, James Robb built a palatial home in the Garden District and amassed one of the first significant art collections in America. While in Philadelphia in 1844, Robb commissioned the well-known American portraitist Thomas Sully to paint his wife and three of their children. The painting “Portrait of Mrs. Robb and her Three Children” is now in the collection of the Ogden Museum of Southern Art. The Historic New Orleans Collection recently acquired the preliminary oil study for the portrait of Mrs. Louise Robb.
This painting, “Possibly the Children of James Robb of New Orleans”, shows two young girls, one blond and the other dark haired. They appear to be similar in appearance to the two daughters in the Ogden Museum’s portrait. This painting was acquired from an estate in Philadelphia, a city that Robb frequented in connection with his business. According to auction records of the day, Robb did not sell any of his family portraits during his lifetime.
Ref: Delehanty, Randolph, Art in American South, Works from the Ogden Collection, Louisiana State University Press, Baton Rouge, 1996, p. 191; and Jordan, George, “THNOC Acquires Thomas Sully’s Portrait of Louisa Werninger Robb”, 2002, The Historic New Orleans Quarterly.
482. Thomas J. Jackson (American/Charleston, mid-19th c.), “Portrait of a Child”, oil on canvas, signed and dated “184-” en verso, 30 in. x 25 in. [$2000/3000]
483. George Louis Viavant (American/New Orleans, 1872-1925), “Nature Morte: Cedar Waxwing and Eastern Blue Bird”, watercolor on paper, signed and dated “1913” lower left, sight 19 1/2 in. x 12 1/2 in., in a period frame. [$3000/5000]
484. George Louis Viavant (American/New Orleans, 1872-1925), “Nature Morte of a Squirrel”, watercolor on paper, signed and dated “1918” lower left, sight 25 1/2 in. x 17 1/2 in., in a period frame. [$3000/5000]
485. Achille Perelli (Italian/New Orleans, 1822-1891), “Nature Morte: Red-Winged Blackbird and Robin”, watercolor on paper, signed lower left, sight 25 in. x 11 1/2 in. [$4000/6000]
486. Achille Perelli (Italian/New Orleans, 1822-1891), “Nature Morte: Mallard or Green-Headed Duck”, watercolor on paper, signed lower left, sight 24 in. x 12 in. [$6000/9000]
487. American School, late 19th c., “Young Girl and Watermelon”, oil on wood panel, unsigned, Phoenix Art Museum label en verso, 22 1/2 in. x 18 in., in a carved cornstalk and stenciled period giltwood frame. [$4000/6000]
488. An American Southern Cherrywood Sugar Chest, early 19th c., hinged top enclosing a divided interior on a distinctive cupboard base, with turned legs, bears old signature back of chest: “W.H. Cox...”, indistinct locale, height 40 in., width 33 in., depth 16 1/2 in. [$4000/6000]
Note: See Journal of Early Southern Decorative Arts, Winter 1997, Volume XXIII, Number 2, The Musuem of Early Southern Decorative Arts. The extensive article by Anne S. McPherson illustrates a closely related sugar chest, #29, page 49 with a Sumner County, Tenn. attribution.
Provenance: An early Louisville, KY collection.
*489. An American Cherrywood Chest-of-Drawers, c. 1830, Southern, eared splashboard, large top drawer over three graduated drawers, later scalloped bracket feet, height 50 in, width 43 in., depth 19 in. [$700/900]
*490. A Southern Pine “Lazy Susan” Table, late 19th c., the circular revolving plateau above a circular plank top, the recessed frieze raised on square turned legs, height 32 in., diameter 53 in. [$700/1000]
491. An American Walnut Blanket Chest, early 19th c., Southern, the rectangular lift top opening to a void interior, the paneled coffer on plank bracket feet, height 25 1/2 in., width 38 3/4 in., depth 18 1/4 in. [$1000/1500]
*492. An American Federal Inlaid Headboard, c. 1800, Louisiana, most probably belonging to a child’s bed, the melon-shaped headboard banded in checkered inlay entwined by a bellflower vine, the medallion shape framing marquetry depicting a bird on a bough, it’s beak holding a beribboned tablet bearing the monogram “WHB”, height 14 1/2 in., width 19 1/4 in. [$500/750]
Note: For a related headboard, see New Orleans Museum of Art, The Rosemonde E. and Emile Kuntz Rooms. This shape appears to be exclusive to Louisiana.
493. An American Late Federal Mahogany and Cherrywood Games Table, c. 1820, the serpentine outlined foldover top above a conforming frieze, the outset corners fronted by coin molding, on rope-turned legs ending in ball feet, height 29 1/2 in., width 36 in., depth 17 3/4 in. [$1500/2000]
*494. George Louis Viavant (American/New Orleans, 1872-1925), “Nature Morte of a Bass”, watercolor on paper, signed and dated “1913” lower left, sight 19 in. x 11 in., in a period frame. [$2500/3500]

495. George Catlin (American, 1796-1872), “Portrait of Charles White”, watercolor on Bristol paper, inscribed en verso “Charles S. White, 3 yrs. Old. Painted by Catlin”, 7 1/2 in. x 6 1/8 in. [$1500/2500]
496. Earl Cunningham (American, 1893-1977), “Two Masted Schooner Sculpture”, painted wood, pencils, string, cloth, and mixed media, pencil-signature on bottom of the base, height 11 in., width 15 1/2 in., depth 3 in. [$3000/5000]
Provenance: Purchased from artist during the late 1960’s in St. Augustine, Florida. Ref: Rosenak, Chuck and Jan, Museum of American Folk Art Encyclopedia of Twentieth-Century American Folk Art and Artists, Abbeville Press, New York, 1990, p. 90.
497. Earl Cunningham (American, 1893-1977), “Plantation”, oil on board, signed lower left, 17 1/2 in. x 48 in., in a frame hand-made by the artist. [$20000/30000]
Note: This lot is accompanied by a hand-written note describing the provenance of the painting.
Provenance: Purchased from Cunningham’s common law wife Terisia “Tessie” Paffe of St. Augustine, Florida in 1978.
Note: Self-taught Florida artist Earl Cunningham used a rich palette of jewel-like colors combined with his vivid imagination to create his fantasy landscapes. At the age of thirteen, Cunningham left his family in Maine and worked a variety of odd jobs including peddler, tinker and crewing on sailing ships. He married Iva Moses and for many years operated a chicken farm. Upon divorcing Moses, he moved to St. Augustine, Florida and was befriended and fell in love with Teresia “Tesse” Paffe.
Cunningham opened the Over Fork Gallery, a curio shop in St. Augustine. The paintings and sculptures he created since the 1950s were not for sale or public viewing. In 1969, art collector Marilyn Mennello happened upon the Over the Fork Gallery and recognized Cunningham’s talent as an artist.
According to a diary entry dated 1977, Cunningham had “450 paintings finished.” After his suicide, Marilyn Mennello purchased 350 of his paintings. In 1998 she founded the Mennello Museum of American Folk Art in Orlando that features the work of Earl Cunningham. His paintings are now in the collection of the High Museum of Art, National Museum of American Art and Metropolitan Museum of Art.
Ref: Rosenak, Chuck and Jan, Museum of American Folk Art Encyclopedia of Twentieth Century American Folk Art and Artists, Abbeville Press, New York, 1990, pp. 90-1; and Snell, Bob, “Strokes of Genius: The Forgotten Life and Enduring Art of St. Augustine Folk Icon Earl Cunningham”, Folio Weekly, March 14, 2000, pp. 14-27.
498. An American Horn Armchair, c. 1900, Southwest, the joined steer horns forming the back rest, with rare heart-shaped seat, trifid horn legs, in original condition. [$2000/2500]
499. A Philadelphia Late Federal Mahogany Two-Part Banquet Table, c. 1810-1825, each “D”-shaped top with long drop leaf, above a conforming frieze, one having a later drawer, the spiral and ring-turned legs ending ball feet, height 28 3/4 in., width 48 in., length 91 in. [$3000/4000]

500. A Rare American Oak Sideboard, mid-19th c., New Orleans, the interior having a paper label inscribed “From Wm. and Jas. McCracken, Southern cabinet makers and upholsterers, Nos. 37, 39, and 41 Royal St., New Orleans”, the etagere superstructure with arched and serpentine outlined pediment centered by an exuberant cartouche with fruiting pendant over two graduated shelves with scrolled and fruited supports and brackets, the back framing oval panels; the lower case with a projecting molded top above a pair of drawers and hinged side compartments and with four shaped panel doors, on blocked feet, height 91 in., width 72 in., depth 21 in. [$6000/8000]
Note: William McCracken and his brothers John and James established a substantial furniture trade on Royal Street from about 1832 to 1872. They produced and sold their own goods, and imported furniture from the Northeast and Cincinnati. This was common practice among many notable cabinetmaking firms in New Orleans at the time. For related literature see the Magazine Antiques, May 1997, “The 19th Century Furniture Trade in New Orleans” by Stephen G. Harrison, pages 748-759.
Several pieces of labeled McCracken Furniture, including two armoires, have been offered in these rooms, February 1990, lot 246 and October 1992, lot 560.

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