Information below is the lot/description information from our Holiday Estates Auction, December 6 & 7, 2008. Descriptions listed below are NOT guaranteed accurate. Call 1-800-467-5329 for general information on Neal Auction Company. Follow the catalogue link to order our beautifully illustrated catalogue.

1. A Fine Grisaille and Giltwood Screen in the Louis XV Taste, late 19th c., each of the four arched panels with a fine shell and foliate crest and an oil on canvas panel with a chinoiserie scene finely painted in grisaille, height 67 in., width 64 in., depth 1 1/2 in. $800/1200

2. A French Restauration Walnut Two-Tiered Table, 19th c., galleried top above a shaped shelf on square tapered legs, height 29 1/2 in., width 33 1/4 in., depth 17 in. $400/600
Provenance: Henry Stern, New Orleans.

3. After James Pollard (English, 1792-1867), "Approach to Christmas", colored aquatint, 19th c., engraved by George Hunt (English, 1795-1833), published by J. Moore, London, 17 1/2 in. x 22 1/2 in., framed. $300/500

4. After Giovanni Battista Piranesi (Italian, 1720-1778), "Vue des Restes de la Celle du Temple de Neptune", from "Vedule di Roma", inscribed "Cav Piranesi F" in plate lower right, numbered "XVII" upper right, sight 19 1/4 in. x 27 in., attractively matted and framed. $800/1200

5. After Edouard Manet (French, 1832-1883), "Portrait of Charles Baudelaire de Face", etching, inscribed "Peint et Grave par Manet, 1865" lower left and "Imp. A. Slamon" lower right, image 4 1/4 in. x 3 1/2 in., matted and in a later cove-molded frame. $500/800

6. After Francisco Jose de Goya y Lucientes (Spanish, 1746-1828), "The Prisoner", etching, inscribed "Gazette des Beaux Arts" lower left and "Imp. Delatre Paris" lower right, image 4 1/4 in. x 3 1/4 in., matted and in a later frame. $800/1200
Note: The Gazette des Beaux-Arts published works from prominent print makers from 1859 until 1930.

7. An Associated Pair of French Faience Covered Coupes, c. 1750, Moustiers, full underglaze umber mark of Olerys and Laugier (with associated painter's symbol), delicately painted with Chinoiserie motifs and vignettes, the intact matching cover with polychrome finial, height 13 in., diameter 8 3/4 in.; the second a later copy with similar but heavier potting and decoration (height 13 1/4 in., diameter 8 3/4 in.); together with a very fine curvilinear octagonal covered box, underglaze sepia mark of Olerys and Laugier, c. 1740s, decor aux guirlandes, the cover with medallion vignettes of putti in landscapes (lacking finial), height 4 1/2 in., 5 1/2 in. square; and also with a separate urn or vase of similar decor, underglaze sepia mark of Olerys and Laugier (with associated painter's symbols), height 2 3/4 in., diameter 7 1/2 in. $500/700
Reference: For the coupes, Boone Collection (Los Angeles, 1998), p. 54, color pl. 26-27; for the box and separate cover, Grand Livre de la Faience Française, (Fribourg, 1986), p. 148, color pl. 177 (an almost identical cover on a basin with similar decor aux guirlandes).

8. A Good French Faience Scalloped Bowl, c. 1760, Sceaux, with finely painted central bouquet and border vignettes of summer flowers, height 3 3/4 in., diameter 12 in. $500/750
Reference: Contemporaneous Sceaux bowls with similarly scalloped shapes are illustrated in Boone Collection (Los Angeles, 1998), p. 66, color pl. 42 and Grand Livre de la Faience Française (Fribourg, 1986), color pl. 267; the floral palette is paralleled in ibid., color pls. 266 268, and 270.

9. A French Faience Baluster Vase, late 18th c., Sceaux, underglaze blue mark "S P", with delicately painted vignettes of courting couples surrounded by graduated borders of fruits, flowers and leaves, height 10 in. $500/700
Reference: An identical wreath border around the landscape vignette is shown on a Sceaux plate of the Jacques and Jullien period (c. 1770), in Grand Livre de la Faience Française (Fribourg, 1986), p. 211, fig. 269 for the mark see Solon, Old French Faience (London, 1903), p. 184.

10. A Continental Blue and White Charger, possibly 17th c., blue underglaze mark, center decorated with lion between two columns, diameter 13 1/2 in.; together with two antique blue and white porcelain plates, one decorated with two peacocks, second painted with view of the London Bridge and St. Paul's Cathedral. Note: Charger and one plate repaired. $400/600

11. Three Paris Porcelain Table Items in the Empire Taste, 19th c., including a soup plate reserved by a classical medallion, a magenta saucer with grisaille landscape reserves and a grisaille demitasse cup with transfer-printed Classical figural scenes; together with a Paris porcelain dessert plate, having apple green border and gilt highlights, and a Paris porcelain shallow bowl with floral sprig decoration, (5 pcs.) $250/350

12. A Chinese Export Porcelain Bowl, 19th c., finely painted in enamels and gilt, the interior well with a central floral spray, the rim banded with stylized diapering above scrolling floral and leafy vine decoration, the exterior with bold floral sprays, raised on a short banded foot, height 4 1/2 in., diameter 10 1/4 in. Note: restorations. $500/700

13. A Paris Porcelain Polychrome and Gilt Basin and Pitcher, c. 1860, floral bouquet reserves, geometric and rose motif gilt decoration against a rose pompadour ground, basin length 14 1/4 in.; pitcher height 9 in. $300/500

14. A Pair of Antique Chinese Famille Verte Porcelain Vases, each of faceted baluster form, the four sides independently decorated with full panels enclosing figures at leisurely outdoor pursuits, including boating, eating and climbing, each with two panels inscribed and two panels sealed, the flared bamboo decorated necks issuing from floral decorated shoulders, the bases with a recessed square bearing six character Kangxi (1662-1722) marks within, height 17 1/2 in. and 17 3/4 in. $1000/1500

15. A Large Chinese Celadon Crackle Glazed Longquan Bowl, probably Ming (1368-1644), with rounded sides rising to the everted rim, the interior carved and incised with a large blossom encircled on the cavetto with a foliate scroll, covered with a crackled sea-green glaze, height 3 1/4 in., diameter 14 3/4 in., presented on a footed wood stand. $1000/1500

16. A Pair of Faux Marbre Fluted Columns, 20th c., of tapering form, height 89 1/4 in., diameter 10 in. $800/1200

17. A George III Mahogany Dumbwaiter, late 18th/early 19th c., having two molded drop leaf tiers connected by turned vasiform stems, raised on arched reeded legs ending in brass caps, casters, height 35 in., diameter 23 in. and 21 in. $500/700

18. A Pair of American Carved Mahogany Side Chairs, 19th c., probably Boston, wide shaped crests, anthemion and voluted scroll pierced splat, trapezoidal slip seat, turned tapered legs, height 35 in. $700/900

19. An Antique English Inlaid Mahogany Low Table, circular top with stringing and musical trophée inlay on square tapered legs, height 18 in., diameter 35 in. $500/750

20. A George III-Style Mahogany Dining Table, circular top with reeded edge, turned stem, arched reeded sabre legs ending in brass paw feet, casters, height 30 in., diameter 60 in. $1500/2500

21. An Antique George III-Style Inlaid Mahogany Pedestal Desk, 19th c., rectangular molded top inset with green tooled leather, frieze with center long drawer and side compartments, four graduated drawers in each pedestal, each pedestal also having hinged drawer front and side cupboard, height 31 1/2 in., width 61 in., depth 37 in. $4000/6000
Provenance: Waldhorn Co., Inc., New Orleans.

22. An Antique Irish Georgian-Style Carved Mahogany Rent Table, segmented octagonal top with guilloche carved edge, alternating frieze drawers, massive carved cabriole legs with grotesques and acanthus scrolls ending in hairy paw feet, height 37 in., diameter 52 in. $3000/5000

23. A Georgian-Style Mahogany Wingchair, with tufted green leather upholstery, nailhead trim, on square molded legs joined by stretchers, height 44 in. $1000/1500
Provenance: Rothchild's Antiques, New Orleans.

24. A George III Mahogany Music Stand, early 19th c., adjustable stand with brass page holders, candle slides to the sides, tapered stem and molded saber legs, height 30 in., width 18 in., depth 12 in. $800/1200

25. An Anglo-Indian Hardwood and Brass-Banded Campaign Chest, mid-19th c., the top with overlapping brass banding above two short and three long drawers, on turned feet, inset pulls and carrying handles, in two parts, height 41 in., width 38 in., depth 19 1/2 in. $1800/2500

26. A Near Pair of Louis Philippe Mahogany Cylinder Commodes, mid-19th c., each having the original circular white marble top, the door opening to a shelf, molded plinth base, one height 28 in., diameter 15 in., the other height 29 in., diameter 15 in. $800/1200

27. A Louis Philippe Carved Hardwood Guéridon, 19th c., later circular top on bracket supports, fluted and anthemion carved stem, tripod base ending in paw feet, with later green faux marbre paint overall, height 28 in., width 24 1/2 in. $1000/1500

28. An Italian Renaissance-Style Walnut Refectory Table, plank top, two carved drawers, vasiform legs connected by molded stretchers, ending in ball feet, height 33 in., width 83 1/2 in., depth 29 in. $1200/1800

29. A Louis XVI Carved Oak Demilune Console, late 18th c., the marble top above a beribboned and carved frieze centered by an acanthus leaf, raised on turned, fluted and foliate-carved tapered legs connected by an incurvate stretcher, height 38 in., width 41 in., depth 14 1/2 in. $1200/2000

30. Johann Paul Adolf Kiessling (German, 1836-1919), "Discovery at Meissen: Böttger Revealing to August the Strong the Method of Producing Porcelain", oil on canvas, label from "Spiegel & Bilderrahmens" en verso, University of Utah accession labels en verso, unsigned, 69 in. x 49 in., in a very fine and elaborate gilt, gessoed, and carved wood frame. $5000/7000
Provenance: University of Utah, thence to the Utah Museum of Fine Arts.
Note: This oil on canvas is a small-scale version by Kiessling of the mural he produced for the Albrechtsburg Castle in Meissen, Germany. It depicts the moment when the German alchemist Johann Friedrich Böttger (1682-1719), who had been incarcerated in the Castle after his claims of being able to turn virtually any organic material into gold had proved false, reveals to Frederick Augustus (more commonly known as August the Strong), Elector of Saxony and Poland, the method for producing hard paste porcelain. While Böttger is generally considered the developer of this method, it was more likely devised by his predecessor at Meissen, Ehrenfried Walther von Tschirnhaus. After Tschirnhaus's untimely death, it was Böttger who perfected the technique and introduced the porcelain to an eager market. Porcelain production officially commenced at the Meissen Factory in 1710.
Kiessling attended the Dresden Academy of Fine Art, where he later became a professor. He exhibited at the Exposition Universelle in Paris in 1900, and was the recipient of the gold Medal in Berlin in 1891.
References: Bénézit. Dictionnaire des Peintres. Librairie Grund. 1976. Vol. VI, p. 212. www.albrechtsburg-meissen.de

31. A Suite of Eight Fine Regency Black Painted, Gilt, and Grisaille-Decorated Dining Chairs, early 19th c., comprising two armchairs and six side chairs, each with a turned crest rail centered by a gilt diapered panel, the central splat with tablet depicting cupid shooting an arrow, caned seat, turned tapered legs, height 32 in. $2500/3500

32. A Louis XV Carved Walnut Commode, 18th c., the serpentine top with scrolling floral carving, three similarly carved drawers, arched paneled carved sides, molded stiles and cabriole legs, height 37 3/4 in., width 49 in., depth 23 in. $4000/6000

33. An Antique Continental Egyptian Revival Carved Mahogany and Gilt-Decorated Pier Table, late 19th/early 20th c., the later white marble top above a narrow molding, blocked scalloped corners, winged term supports ending in paw feet, incurvate plinth base, height 35 in., width 38 1/2 in., depth 16 1/2 in. $1500/2500

34. A Louis XV/XVI-Style Bronze-Mounted Kingwood Bureau Plat, tripartite inset black leather top with bronze moldings, the shaped skirt with three drawers and faux drawers on the opposite side, raised on cabriole legs, height 30 1/2 in., width 75 1/2 in., depth 33 in. $3000/5000

35. An Antique Dutch Rococo-Style Paint-Decorated Cabinet, cove-molded arched cornice, wide frieze with cabochon cartouche and foliate scrolls, a pair of glazed doors, opening to fabric lined shelves, lower case with waist molding above carved paneled doors, canted sides, molded base, large bun feet, height 87 in., width 61 in., depth 20 in. $2500/3500

36. French School, late 18th/early 19th c., "The Goddess Diana with her Maid, the Woodnymph Egeria, and a Putto in a Woodland Vale", oil on wood panel, sight 12 in. x 8 3/4 in., in an elaborate gilt, gessoed, and carved wood frame. $2500/3500

37. School of Jonathan Richardson (English, 1667-1745), "A Portrait of the Poet Matthew Prior", oil on canvas, 22 in. x 16 in., in a later cove-molded giltwood frame. $3000/5000
Note: Prior was an English satirical poet and diplomat. His early literary precociousness led to his sponsorship at the Westminster School by Lord Dorset. It was at Westminster that Prior befriended Charles Montague, the 1st Earl of Halifax; it was a friendship that was to last until Prior's untimely death. It was through the socially and politically prominent Montague that Prior obtained his first government position as secretary to the British Embassy in The Hague. In 1687, the two men joined to write The City Mouse and the Country Mouse, a satire of John Dryden's epic poem The Hind and the Panther; it was widely popular, though the elderly Dryden was not amused. Prior continued to write while pursuing increasingly significant political positions; he was an MP from East Grinstead and the British Ambassador to France. Prior was buried at Westminster Abbey.
Johnson. The Lives of the Most Eminent English Poets. Sam. Etheridge. Charlestown. 1810. pp. 158-186.

38. A Pair of Renaissance Style Iron Lanterns, cage form, with applied sheet-worked foliage, fitted with etched glass panels, height 43 in., width 25 in. $1500/2000

39. A Baccarat Crystal and Bronze Vase, "Flight of Love (Grapes)", designed by Erté (Russian/French, 1892-1990), 1989, the hand-blown, hand-cut, and polished crystal vase with bronze embellishment of birds feeding on grapes, stamped, dated and signed en verso of bronze, height 12 in.; accompanied by a certificate of authenticity. $2500/3500

40. A Large Decorative Bronze Ornamental Garden Sundial, the face having pierced concentric sections and a dial, overall Arabic inscriptions; signs of the zodiac and fanciful animals on a similarly chased stand centered with globes ending in Egyptianesque monopodal legs, height 53 1/2 in., diameter 32 in. $3000/5000

41. An Antique English or American Cast Iron Guéridon in the Renaissance Revival Taste, 19th c., having a rouge marble top, tripartite figural masks above scrolled segmented flared legs ending in paw feet, height 28 1/2 in., diameter 26 in. $600/900

42. An Italian Alabaster Bust of an 18th c. Maiden, late 19th c., pedestal with barley twist standard, bust height 17 1/2 in., width 11 1/2 in., pedestal height 40 in. $2000/3000

43. A Pair of Italian Marble Busts of Blackamoors, the turbaned figures composed of black and variegated marble, both mustachioed, one with beard, both on socle bases, each height 28 1/2 in., width 21 1/2 in., depth 10 in. $4000/6000

44. An Austrian Art Nouveau Patinated Metal Figural Group of "The Goddess of Love Being Drawn in Her Chariot", late 19th/early 20th c., foundry mark of "Bruma" and inscribed "Made in Austria" at back left, height 16 1/2 in., width 24 in., depth 9 1/4 in., on a marble base. $1200/1800

45. A Continental Gilt Bronze of "The Birth of Venus", early 20th c., after Jules-Jacques Labatut (French, 1851-1935), signed on back, the goddess depicted at the moment she emerges fully grown from the sea, height 31 1/4 in., width 13 in., depth 8 1/2 in. $2000/3000

46. A Dutch Mahogany and Marquetry Inlaid Tall Case Clock, early 19th c., probably for the English market, arched bonnet with glazed door, tôle peinte dial with allegorical figures, country scenes and Roman numeral dial, glazed pendulum door; base with chamfered stiles, ball and claw feet, height 72 in., width 18 in., depth 10 in. $3000/5000

47. An Italian Neoclassical-Style Marble Mirror, dentillated cornice, diamond paneled frieze, blocked pilasters mounted with gilt metal grotesques, molded base, height 45 in., width 43 in., depth 3 1/2 in. $1200/1800

48. A Pair of Moorish Abalone and Bone Inlaid Hardwood Tabourets, octagonal dished tops, intricately inlaid overall, blocked feet, height 29 1/2 in., width 18 in., depth 18 in. $2500/3500

49. A Spanish or Portuguese Carved Walnut Table, plank top with decorative nailheads, foliate carved and gadrooned skirt with a pair of drawers on one side, iron strapwork corners, bulbous turned and blocked legs, height 29 1/2 in., width 81 in., depth 55 1/2 in. $3000/5000

50. A Louis XVI Kingwood Parquetry Bureau, late 18th c., serpentine slant-front lid opening to a stepped desk interior of drawers and leather inset writing surface, the base with kneehole configuration of drawers and scalloped skirt on cabriole legs with sabots, "as is", height 41 in., width 33 1/2 in., depth 19 in. $1000/1500

51. Enrico Nardi (Italian, 1864-1947, active Rome), "Afternoon Stroll", watercolor on paper, 40 in. x 33 in., framed. $1000/1500

52. Dutch School, 18th c., "A Monumental Still Life of Tulips and Spring Flowers in a Relief-Decorated Urn", oil on canvas, illegibly signed with monogram and dated "1722" lower right, 39 in. x 33 in., in a later frame. $1000/1500

53. Eugene Verboeckhoven (Belgian, 1798-1881), "Barnyard Scene with Lambs and Ewes", oil on canvas, signed and dated "1877" lower right, handwritten note signed and dated by artist en verso of canvas, 28 1/4 in. x 23 in., in a fine period ornate gilt, gessoed, and carved wood frame. $100000/200000
Provenance: Descended in a New Orleans Family
Note: Verboeckhoven was one of the most celebrated and successful animal artists of the 19th century, inspired by the Dutch landscape masters who he revered for their intense and unflinching attention to detail. He was born into an impoverished artistic family and, as a young man, supplemented his family's income by working as a lithographer, a task that sharpened his eye for detail. He initially studied under his father, before entering the Academy of Ghent where he was tutored by Balthazar-Paul Ommeganck (1755-1826), who was considered one of the finest sheep painters of his day. Under the considerable influence of his esteemed teacher, Verboeckhoven soon chose to concentrate on animal painting. Impressed by the works of Dutch painters Paulus Potter (1625-1654) and Albert Cuyp (1620-1691), Verboeckhoven strove to be an animalier of the 17th century Dutch tradition. It was his initial training in anatomy while studying sculpture that made him such an accomplished and extraordinary painter of animals.
Verboeckhoven was known for his preciseness of line, extreme attention to detail, rich palette, and deft handling of light and shadow; his paintings are frequently bathed in a golden glow, which helps create an atmosphere of immediacy and vibrancy. As the artist himself stated; "Only the complete, carefully finished work can satisfy the knowledgeable and the ignorant, because it alone has the characteristics of a creation: fullness and unity." The present lot is an example of Verboeckhoven at his most accomplished; the central figure of the ewe looks directly out at the viewer with an expression of both maternal love and warning, while the young lamb leans into its mother for protection. Verboeckhoven has created a virtual portrait of these animals, imbuing them with character and personality.
Verboeckhoven's fame went well beyond his native Belgium. He traveled extensively and was particularly appreciated in the U.S. and England, where many of his works are in prestigious collections. Verboeckhoven exhibited widely and was a member of the Academies of Belgium, Antwerp and St. Petersburg. He frequently worked with his fellow artists who, because of his renown and expertise in animal painting, actively sought his collaboration. Verboeckhoven won numerous awards and honors including the Order of Leopold, and the Légion d'honneur. He received commissions from King Leopold I (of the royal Saxe-Coburg family, and Queen Victoria's favorite uncle) including one for the ruler's equestrian portrait of 1852. Verbeckhoven's paintings are in museums the world over including the Hermitage, the Wallace Collection in London, the Rijksmuseum in Amsterdam, the Courtauld Institute of Art in London, and the National Gallery of Norway, among many others.
References: Berko. Eugene Verboeckhoven. Editions Laconti. Brussels. 1981. Flippo. Lexicon of the Belgian Romantic Painters. Int. Art Press. Antwerp. 1982. Benezit. Dictionnaire des Peintres. Librairie Grund. 1976. Vol. X, p. 442.

54. English School, late 19th/early 20th c., "Building with Moorish Architectural Elements", watercolor, unsigned, sight 11 3/4 in. x 8 3/4 in., matted and framed. $200/400

55. A Set of Eight Hand-Colored Engravings of Fruits and Nuts, after Duhamel du Monceau (French, 1700-1782), 1784, Paris, sight 11 in. x 9 in., attractively matted and framed. $1000/1500

56. A Group of Eight Hand-Colored Engravings of Botanicals Including Lilies, c. 1823-34, engraved by J. Watts, M. Hart and Mrs. Withers delineators, published by Ridgway, London, sight 10 1/2 in. x 8 1/2 in., attractively matted and framed. $600/900

57. A Pair of Small Carved Hardstone Trees in Cloisonné Jardinières, the petals and leaves carved of various semi-precious stones, the rectangular pots turquoise with multi-color scroll and floral designs, height 12 in. Note: Small losses. $300/500

58. An Italian Pietra Dura Plaque, black marble background with yellow rose and buds, Mosaico di Firenze, Italy, in original gilt-carved frame, height 10 in., width 8 in. $400/600

59. A Fine Antique Italian Bronze Figural Jardinière, late 19th c., modeled by Carl August Wilhelm Sommer (German, 1939-1921), "C.Sommer, Napoli" foundry marks, gadrooned vessel supported by three satyr caryatids with outstretched arms, their tails entwined around central ring, on tripartite base, height 32 in., vessel diameter 15 3/4 in. $5000/7000

60. An American Classical Mahogany, Bronze-Mounted, Stenciled and Ebonized Pier Table, c. 1825, school of Anthony Quervelle, Philadelphia, white marble top above a cove molded frieze, ebonized columnar supports with stenciled collars, mirrored anthemion bordered back, shaped plinth with demilune rosette, on gadrooned ball feet, height 38 1/2 in., width 42 in., depth 18 in. $3000/5000

61. An American Federal Carved Mahogany Sofa, c. 1800, attributed to Connelly and Haines, Philadelphia, the scrolled crest rail with acanthus-carved terminals, scrolled rosette arms, acanthus-carved supports, straight seat rail on patera-carved reeded tapered legs, height 37 1/2 in., width 76 in., depth 20 1/2 in. $2000/3000
Note: The reeded legs and bulb-turned feet on this sofa, typical of many found on Philadelphia pieces, are very similar to those on a sofa with Ephraim Haines' bill of sale in the Stephen Girard collection. The distinctive serpentine arm supports on this sofa relate to those on a Philadelphia easy chair at Winterthur and a sofa installed at the Barclay Farmstead in Cherry Hill, New Jersey.
Reference: Boor, Philadelphia Empire Furniture, p. 293, fig. 150; Montgomery. Federal Furniture of the Federal Period, p. 176, pl. 132; Moss. Historical Houses of Philadelphia, p. 54.

62. A Rare American Gothic Carved Mahogany Dressing Table, c. 1830, New York, labeled "G.B. Owen & Co. Manufacturers & Dealers in Clocks, Looking-Glasses, Portrait & Picture Frames, 325 Hudson St., New York", arched mirror on turned tapered supports, the top above a pair of long drawers, on turned legs with ball feet, height 64 in., width 33 in., depth 18 in. $1200/1800
Reference: Truth, Beauty, Power: Dr. Christopher Dresser, 1834-1904, Historical Design Exhibition catalogue, 1998.

63. An Aesthetic Carved Rosewood Stand, late 19th c., New York or Philadelphia, molded top above pierced fretwork frieze, turned spindles at each corner, raised plinth, incurvate shelf on turned and blocked tapered legs, height 30 in., width 15 in., depth 15 in. $1200/1800

64. An American Aesthetic Faux Bamboo Étagère, late 19th c., spindled gallery top, asymmetrically arranged shelves with small spindled door and compartment, the base with two drawers, height 61 in., width 45 in., depth 15 1/2 in. $1500/2500

65. A Beaux-Arts Chased Copper, Cast Bronze and Wrought Iron Conservatory Table, c. 1922, attributed to Oscar Bach (Austria/New York,1884-1957), the Egyptian marble top above a relief chased skirt with heraldic rampant lions flanking castles, the corners with jester masks, wrought and cast spindles to the sides, centered coat of arms, foliate vasiform legs, blocked feet, connected by a scrolled iron stretcher, height 33 in., width 60 in., depth 28 in. $8000/12000
Note: A table identical to this lot was designed and executed by Oscar Bach in 1922 for the James A. Farrel residence in South Norwalk, Connecticut and photographed in William Mc Cormick. "Oscar Bach, Artist-Artisan," International Studio (January 1924), p. 338.
An Austrian native, sculptor Oscar Bach trained in Germany before immigrating to the United States in 1912. His Manhattan studio specialized in architectural embellishments for residential commissions including gates, doors and window grilles for the Farrel home mentioned above. By the 1930s Bach landed monumental programs for public buildings including the Chrysler Building, the Empire State Building, and Rockefeller Center.
Reference: The International Studio article can be found at http://www. oscarbach.org/

66. A Fine American Modern Gothic Carved, Painted Burl and Walnut Bedroom Suite, c. 1880, attributed to Kimbel and Cabus, New York, comprising a bedstead with architectonic headboard crest with a finely painted panel of an Elizabethan gentleman, birds, and scrolling vines flanked by quatrefoil panels, columnar stiles, incised rails, shaped footboard of similar decoration, bracket feet, height 85 in., interior width 58 in., interior length 80 in.; dresser with mirror, white marble top and three drawers, height 103 in., width 48 in., depth 23 in.; and a bedside commode with canted lift top in the form of a dormered roof, cabinet door, stretcher shelf, height 38 in., width 19 in., depth 17 ½ in. (3 pcs.) $15000/25000
Note: Several significant design elements link this important suite to pieces known from the Kimbel and Cabus firm's c. 1875 trade catalogue in the collection of the Cooper Hewitt Museum and Smithsonian Institution. The distinctive Gothic crests with curled crockets and a trefoil panel on the bed and dresser are very similar to those on cabinet #323 in the catalogue mentioned above. The strap hinges and dormer roof on the bedside commode are very similar to those on a bookcase #235 and cabinet #380 respectively. The incised spiral decoration on the bed footboard panels and commode sides on this lot are identical to those on desk #381. The columnar stiles on the bed headboard and dresser mirror frame resemble those on desk #318, cabinet #323 and desk #381.
Reference: http://www.sil.si.edu/imagegalaxy/imagegalaxy_image

67. An American Renaissance Walnut, Burl Walnut and Ebonized Folio Stand, c. 1870, New York, adjustable hinged dividers with portrait medallion bosses, on paired supports with blocked and turned stretchers, raised on distinctive ball and claw feet, height 49 in., width 31 in. $2500/3500
Provenance: John Howell Books, San Francisco.

68. An Anglo-Indian Carved Hardwood, Mother-of-Pearl and Bone Inlaid Low Table, the oval top with carved meandering floral border, a procession of horses and elephants with riders, the center with a royal caravan, colorfully decorated overall, height 20 in., width 54 in., depth 30 in. $800/1200

69. A Set of Four Antique Venetian Rococo Paint-Decorated Side Chairs, verte ground with floral decor, each with scalloped crest, pierced splat, serpentine seat, cabriole legs, stretcher, height 37 1/2. $1800/2500

70. A Pair of Continental Rococo Kingwood, Mahogany and Giltwood Corner Consoles, mid-19th c., probably Neapolitan, bearing signature, serpentine tops, scalloped paneled and foliate carved skirt in contrasting woods with gilt moldings, C and S scrolled bases with oval cartouche, foliate carved overall, height 37 in., width 36 in., depth 25 in. $4000/6000

71. A Continental Fruitwood Cabinet in the Baroque Style, late 18th/early 19th c., with earlier elements, the upper case with molded cornice, robust faceted panels on sides and front, cupboard with shelf interior; conforming lower case with drawers and cupboard, molded plinth, bun feet; steel fiche hinges, height 91 in., width 62 in., depth 30 in. $7000/9000

72. An American Aesthetic Faux Bamboo Maple Bedstead, late 19th c., New York, finialed upright posts, spindled fretwork above a paneled headboard and conforming low footboard, height 62 in., length 78 in., width 58 in. $2000/3000
Note: Introduced to Americans at the 1876 Centennial Exposition in Philadelphia, the Japanese aesthetic greatly influenced late 19th-century American design. Most of this furniture in the Japonesque taste was produced by firms in New York working from French antecedents such as those found in Victor Quentin's Le Magasin de Meubles. Writing in the 1870's, journalist Clarence Cook called the new style "capital stuff" for a country house.

73. An American Aesthetic Faux Bamboo and Birdseye Maple Side Table, late 19th c., New York, bamboo edged top on conforming spindled supports with stretchers, outswept legs, height 28 in., width 27 in., depth 21 in. $800/1200

74. An American Aesthetic Faux Bamboo Dresser, late 19th c., mirrored superstructure supported by cone finialed uprights and fretwork, the base with three graduated drawers, height 78 in., width 44 1/2 in., depth 21 in. $2500/3500

75. An American Aesthetic Faux Bamboo and Birdseye Maple Dresser, late 19th c., New York, surmounted by mirror, galleried top, two short drawers and door over three long drawers, bamboo turned stiles and moldings, casters, poplar secondary wood, height 74 in., width 36 in., depth 22 in. $2500/3500
Note: The finials and galleries on this dresser are very similar to those on a faux bamboo dressing table and tall dressing chest conserved by the Metropolitan Museum of Art.
Reference: Tracy, American 19th c. Furniture and Other Decorative Arts, pl 228.

76. An Antique Mahogany and Gilt Metal-Mounted Guéridon, c. 1900, having a variegated black marble top, narrow molded skirt, molded tapered legs topped by Egyptian busts, incurvate plinth, ball feet, height 29 in., diameter 28 in. $800/1200

77. A Rare American Aesthetic Ebonized and Incised Portfolio Cabinet in the Japonesque Taste, late 19th c., New York, finialed upright brass fitted print rack, pierced fretwork and arched crest with spider web within a horseshoe, the cabinet opening to the sides, incised floral and geometric panels, raised on stepped bracketed arched legs, retaining original surface, height 87 in., width 29 in., depth 14 in. $4000/6000
Note: This tall two-sided stand is similar to several by known New York firms, including an inlaid rosewood stand attributed to Herter Brothers sold by Neal Auction Company as lot 670 on July, 15 1999 and numbers 329, 437, and 445 in the Kimbel and Cabus c. 1875 trade catalogue conserved by the Cooper Hewitt Museum and the Smithsonian Institution.

78. A Set of Twelve Wedgwood Creamware Dinner Plates, late 19th c., each with diapered iron red border and gilt decoration, the well reserved with two opposing griffins, Wedgwood stamp en verso, diameter 9 1/2 in. $800/1200

79. A Pair of Antique Chinese Famille Rose Porcelain Vases, the baluster bodies brightly enameled with figure and bird-and-flower panels reserved on a gilt ground with scrolling vine decoration, the waisted shoulders with twin mask-ring handles, height 18 in. $1500/2500

80. A Pair of English Aesthetic Brass Andirons, late 19th c., in the Egyptian taste, possibly Thomas Jerky, Pharaoh head finials, beaded, rosette shafts, arched reeded legs, curved brass covered iron billet bars with log stops, height 20 in., length 19 in., width 6 in. $1200/1800

81. A Rare Regency Painted Plaster Figure of a Classical Maiden, early 19th c., attributed to Humphrey Hopper, London, unsigned, right arm raised and holding a brass candlecup, ivory marbleized surface, height 47 in., width 18 in., depth 20 in. $2500/3500

82. A Pair of Continental Terracotta-Covered Metal Term Figures of "Ceres" and "Bacchus", 20th c., with their respective attributes of wheat-sheaf and cornucopia, the half-figures supported on molded black marble pedestals in the Neo-Baroque style, each height 81 in., width 30 in., depth 21 in. $6000/8000

83. A Large Highly Carved Oak Mirror, late 19th c., molded crest, frieze with meandering scrolled leaves centered by a lion's mask, grotesques at the corners, the extensively carved sides and base with stag hunting scenes, height 49 1/2 in., width 68 in. $1000/1500

84. An Antique Venetian Mirror, etched mirror plate with a dancer, scalloped frame with clear glass rosettes and leaves, height 27 in., width 17 in. $300/500

85. A French Bronze of "The Soldier of Marathon Announcing Victory", 19th c., after the 1835 original by Jean-Pierre Cortot (French, 1787-1843), now in The Louvre Museum, inscribed "F. Barbedienne Foundry, Paris" at back left, with foundry mark back right, inscribed "Cortot, 1834", height 25 in., width 29 1/2 in., depth 11 in. $2500/3500
Note: In 490 B.C. the Greeks finally experienced a victory over the Persian army of Darius I. According to legend, the soldier Phidippides ran the 26 miles from the battle site of Marathon to Athens to deliver the news of the Greek triumph. In this sculpture, Cortot has chosen to depict the moment when the mortally exhausted soldier collapses at the city gates, using the last of his energy to raise aloft the palm of victory.
A precocious talent, Cortot began his artistic training at the age of 13. In 1809 he was awarded the prestigious Prix de Rome which afforded him the opportunity to live and study in Italy; he was to remain in Rome for over a decade. Upon his return to Paris, Cortot regularly exhibited at the Salon. He was elected to the Institut de France, appointed an officer of the Legion d'honneur, and was offered a professorship at the Ecole des Beaux-Arts.
Cortot first presented this design as a plaster model at the Paris Salon of 1822. In 1831 King Louis-Philippe, admiring the image of the hero sacrificing himself for the good of the country, commissioned a marble from the design. This marble version was exhibited at the Salon of 1834 and was eventually placed in the Louvre.
Reference: Bénézit. Dictionnaire des Peintres, Librairie Grund, 1976, vol. III, p.195.

86. A Pair of Large Rock Crystal Table Lamps, the standards composed of cut and polished spheres interspersed with discs, on round gilt bases, height 23 in., width 8 1/2 in. $3500/4500

87. An Attractive English Chesterfield Sofa, late 19th c., scrolled arms, back and seat in later toffee colored tufted leather upholstery, on turned legs with casters, height 28 in., width 72 in., depth 25 in. $2500/3500

88. A Fine American Modern Gothic Carved Walnut Library Table, late 19th c., attributed to Kimbel and Cabus, New York, overhanging top with incised meander vine border above a blind fretwork carved skirt with a drawer in each end, raised on splayed, faceted turned and blocked legs connected by conforming stretchers, ending in bracket feet, casters, height 30 in., width 50 in., depth 32 1/2 in. $3000/5000
Note: A table identical to this lot appears as item number 73 in the c. 1876 Kimbel and Cabus trade catalogue, a copy of which is conserved by the Smithsonian Institution and the Cooper Hewitt Museum.

89. A Biedermeier Walnut Bookcase, 19th c., the molded cornice above astragal glazed doors, chamfered corners, blocked base, tapered blocked feet, height 75 in., width 46 in., depth 17 in. $1800/2500

90. Adolphe Faugeron (France, b. 1866), "L'Athenienne", oil on canvas, signed lower left, titled, signed and inscribed "31 Boulevard S. Jacques, Paris XVI" on stretcher en verso, 28 3/4 in. x 21 1/2 in., in a modern giltwood frame. $2000/3000
Note: Faugeron was a member of the Society of French Artists where he received an honorable mention in 1907. He was awarded a third place medal at the Paris Salon of 1911.

91. American School, 20th c., a pair of paintings, "Allegorical Figures of Spring and Fall of the Four Seasons", unsigned, 31 in. x 8 3/4 in. each, in matching gilt and verdigris, carved frames. $1000/1500

92. Charles Joshua Chaplin (French, 1825-1891), "Apollo and the Muses", sketch for a ceiling design, oil on canvas, signed lower right, bearing label with artist, title, medium and size, 23 5/8 in. x 36 1/2 in., in a giltwood frame. $2000/3000
Note: One of the most popular artists of his day, Chaplin was a favorite of the Court of Napoleon III. He studied at the École des Beaux Arts in Paris and at the atelier of Michel-Martin Drolling (1789-1851). By the mid-1840s Chaplin was regularly exhibiting at the Paris Salon and the Royal Academy in London, frequently winning awards. He initially trained as a realist landscape artist, but soon began to concentrate on the genre scenes for which he was to become well known.
The grace of his figures, particularly his women, and the subtle vibrancy of his palette, appealed to the society of the Second Empire. One of Chaplin's greatest admirers was the Empress Eugénie, who once told the artist, "I admire you. Your pictures are not merely indecorous, they are more." Inspired by the exuberant voluptuousness of François Boucher (1703-1770) and Jean Honoré Fragonard (1732-1806), Chaplin created provocative works that frequently verged on the erotic. His submission to the Salon of 1859 so scandalized the members that they placed a temporary exhibition ban on the work; Napoleon III later had this ban rescinded.
Following in the footsteps of the Rococo masters he admired, Chaplin also worked as a decorative artist creating extensive murals for various Parisian buildings and residences including the Salon des Fleurs in the Tuileries and the Salon de l'Hemicycle (the Empress's private chamber) in the Palais de l'Elysée. The present lot was likely a preliminary sketch for one of the many residential murals he was commissioned to design.
Chaplin was made a Chevalier of the Légion of Honor in 1879 and an officer in 1881. His women-only atelier included Marie Helene Aarestrup (Norwegian, b. 1826), Louise Abbéma (French, 1858-1927), and Mary Cassatt (American, 1855-1926).
References: Muther. The History of Modern Painting - Vol. II. J.M.Dent and Sons. London. 1907. pp. 421-423. Bénézit. Dictionnaire des Peintres. Librairie Grund. 1976. Vol. II, p. 663.

93. François Gall (French, 1912-1987), "Promenade au Bord de la Seine", oil on board, signed lower center, 10 1/2 in. x 14 in., framed. $2000/4000
Note: Gall began his artistic training with a government-sponsored scholarship at the Royal Academy of Fine Arts in Rome. After a brief period teaching art in his native Hungary, Gall moved to Paris and resumed his studies at the École des Beaux-Arts under Andre Devambez (1867-1943). He soon began exhibiting his paintings, winning numerous awards and medals, including the gold medal at the Paris Salon in 1947 and the prix Gustave Courtois. In 1965 he was appointed Laureat de l'Institut de France and in 1976 was made a Chevalier dans l'Ordre de Arts et des Lettres. Gall became a French citizen in 1945.

94. A Group of Eight Antique Chromolithographs of Mushrooms, late 19th c., presented in a single frame with double mats, each sight 8 in. x 5 in., overall frame 25 1/2 in. x 30 in. $1000/1500

95. Isabel Wrightson (British, 1890-1950), "Tulips and Chinese Vase", watercolor, signed lower right, sight 21 in. x 15 in., framed. $300/500

96. Dr. Robert John Thornton / Publisher (English, 1768-1837), "The Snowdrop", aquatint, mezzotint and stipple engraving from The Temple Flora, published in London, 1804, sheet 20 1/4 in. x 17 in., matted and framed. $500/700

97. A Group of Four Works on Paper, including; Joan Miro (Spanish, 1893-1983), "Star Scene", color lithograph, sight 13 in. x 20 1/2 in., matted and framed; Georges Rouault (French, 1871-1958), "Les Visages", engraving, sight 7 1/4 in. x 9 in., matted and framed; Georges Braques (French, 1882-1963), "Eros and Eypybia", engraving, 19 1/4 in. x 15 1/2 in., matted and framed; Ben Shahn (American, 1898-1969), "For the Sake of a Single Verse", engraving, 20 1/2 in. x 19 1/2 in., unframed; along with a gilt frame. $1000/1500

98. Continental School, 19th c., a pair of watercolor miniatures on ivory of Georgiana, Duchess of Devonshire, one after Thomas Gainsborough (English, 1727-1788), 3 1/2 in. x 2 3/4 in., in a period brass frame, and the other depicting the Duchess in a pink plumed hat, signed Neibla lower right, 3 3/4 in. x 3 in., in an elaborate period brass frame. $500/800

99. Continental School, 19th c., a group of three watercolor miniatures on ivory, including "Lady Hamilton" after George Romney (English, 1734-1802), signed mid-right, 3 1/2 in. x 2 1/2 in., in a period carved giltwood frame, "Woman in Red Dress", signed M. Stieler mid-left, in a period bone frame, and "Marie Antoinette", signed illegibly lower right, 2 1/4 in. x 2 1/4 in., in a cove-molded wood frame. $200/300