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Information below is the lot/description information from our Louisiana Purchase Auction, November 17, 18 & 19, 2017. Descriptions listed below are NOT guaranteed accurate. Call 1-800-467-5329 for general information on Neal Auction Company. Follow the catalogue link to order our beautifully illustrated catalogue.

You are at > Lots 201-300

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201. George Bauer Dunbar (American/New Orleans, b. 1927), "Torso", clay on board, signed lower left and right, 7 in. x 9 in., original frame. $1200/1800

202. George Bauer Dunbar (American/New Orleans, b. 1927), "Untitled", gold leaf and red clay on board, signed lower center, 11 1/2 in. x 11 1/2 in., framed. $2500/3500

203. George Bauer Dunbar (American/New Orleans, b. 1927), "Heart", red, beige and black clay on board, signed lower right, 9 1/2 in. x 10 in., framed. $1200/1800

204. Hunt Slonem (American/Louisiana, b. 1951), "Metallic Bunnies", 2014, oil on canvas, signed and dated en verso, 30 in. x 40 in., unframed. $4000/6000

205. Hunt Slonem (American/Louisiana, b. 1951), "Orange Bunnies", 2015, oil on wood panel, signed and dated en verso, 17 in. x 13 in., framed. $2000/3000

206. Hunt Slonem (American/Louisiana, b. 1951), "Metallic Bunnies", 2015, oil on wood panel, signed and dated en verso, 24 1/2 in. x 20 1/2 in., antique frame. $3000/5000

207. Adele Lemm (American/Tennessee, 1904‑1977), "Shell and Rockweed", 1969, oil on linen, signed and dated lower right, signed, titled and "The Charleston Renaissance Gallery, Charleston, SC", "Robert M. Hicklin, Jr., Inc., Spartanburg, SC" and "Greenville County Museum of Art, SC" labels en verso, 24 1/4 in. x 30 1/8 in., framed. $4000/6000
Provenance: The Charleston Renaissance Gallery, Charleston, SC.
Note: Tennessee artist Adele Lemm spent much of her life in the South and New England, where she often summered at Martha's Vineyard. She studied at the Siena College in Memphis as well as the Memphis Academy of Arts. Lemm's well-known work is defined by blocks of color in a soft palette with details omitted in favor of representation through broad brush strokes, perfectly exemplified in the painting offered here.
In addition to painting, Lemm taught for twenty-three years at the junior school of the Memphis Academy of Arts. In the 1950s and 1960s, Lemm exhibited at the National Academy of Women Artists' Annual Exhibition, New Orleans Museum of Art, Pennsylvania Academy of Fine Arts, Brooks Museum of Art and Ward Eggleston Galleries in New York City. Her work is represented in the collection of the Brooklyn Museum of Art.
Ref.: Pennington, Estill Curtis, and James C. Kelly. The South on Paper: Line, Color and Light. Spartanburg: Robert M. Hicklin Jr., Inc., 1985, pp. 11 & 50.

208. James Michalopoulos (American/New Orleans, b. 1951), "Swing Dancer", 2000, oil on canvas, signed lower right, signed, titled, dated and numbered "4757" en verso, 29 in. x 22 in., framed. $5000/7000

209. Mildred Wohl (American/New Orleans, 1906‑1977), "Abstraction", oil on masonite, unsigned, 60 in. x 48 in., framed. $2000/3000

210. Palmer Schoppe (American/California, 1912‑2001), "Sax Playing in the Spotlight", 1946, watercolor on paper, signed, titled and dated lower right, 19 in. x 12 1/2 in., unframed. $500/800
Provenance: Estate of the artist.

211. Peter Hurd (American/New Mexico, 1904‑1984), "Dusty Sun", lithograph, pencil‑signed and numbered "227/250" lower margin, 10 in. x 13 3/4 in., framed. $300/500
Provenance: Circle Gallery, Ltd., Houston, TX, 1982; Estate of Stephen G. Henry, Baton Rouge, LA.

212. Louis Icart (French, 1888‑1950), "Puff of Smoke", etching and aquatint, remarque lower left with corresponding pencil signature, pencil‑signed lower right, pencil‑inscribed "Epreuve d'Artiste" lower left, sight 16 in. x 21 1/2 in., framed. $700/1000
Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

213. Caroline Wogan Durieux (American/Louisiana, 1896‑1989), "Founder's Day", 1940, lithograph on paper, pencil‑signed, titled, numbered "3/10" and inscribed lower margin, 15 1/2 in. x 11 1/4 in., framed. $1000/1500
Ill.: From Society to Socialism: The Art of Caroline Durieux, Newcomb Art Gallery, Tulane University, New Orleans, 2008, p. 21.
Note: The central figure in this compelling lithograph, who has been identified as former Newcomb dean Pierce Butler, looms ominously over the graduates in the background, with sharp teeth revealed as though to devour the students. Caroline Durieux often used satire to reveal her thoughts on people in powerful positions, and this work is not her only example critical of “the grandeur of academia.” In From Society to Socialism: The Art of Caroline Durieux, it is stated: “While the artist admittedly benefited from the training and rigor of the institution, she often found the pedagogical environment repressive.” Perhaps for this reason, she depicted the students dwarfed in comparison to the architecture and the dean.
Ref.: From Society to Socialism: The Art of Caroline Durieux. New Orleans: Tulane University, 2008.

214. Clarence Millet (American/Louisiana, 1897‑1959), "Pirate's Alley", "Orleans Street", "Old French Market" and "Entrance Jackson Square", 4 woodblocks on paper, 3 hand‑colored, each pencil‑signed and titled lower margin, each initialed "CM" in plate, sheets 10 in. x 8 in., unframed. (4 pcs.) $1000/1500

215. Clarence Millet (American/Louisiana, 1897‑1959), "Pirate's Alley", "Corner Jackson Square" and "Brulatour Courtyard", 3 hand‑colored woodblocks on paper, each pencil‑signed and titled lower margin, each initialed "CM" in plate, sheets 10 in. x 8 in.; accompanied by Gladys B. Morgan (American/Louisiana, 1899‑1981), "House in Old Jefferson, N.O.", woodblock print, pencil‑signed and titled lower margin, sheet 10 in. x 7 3/4 in., each unframed. (4 pcs.) $1000/1500

216. Eugene Loving (American/Louisiana, 1907‑1971), "Green Shutters Patio, Old New Orleans", "The Marchand Court, Old New Orleans", "Pirate's Alley, Old New Orleans" and "Bourbon Street Court, Old New Orleans", 4 etchings on paper, each pencil‑signed, titled and edition number lower margin, 7 in. x 5 in. to 10 in. x 7 in., 3 framed. (4 pcs.) $400/600

217. Aaron Bohrod (American/Wisconsin, 1907‑1992), "New Orleans Street Scene", 1938, lithograph on paper, pencil‑signed lower margin, sheet 9 1/2 in. x 9 1/2 in., unframed. $200/300

218. Eugene Loving (American/Louisiana, 1907‑1971), "Wishing Gate, Old New Orleans", "Sunlight and Shadow, Old New Orleans", "Castillian Arm's Court, Old New Orleans" and "Little Theatre Court, Old New Orleans", 4 etchings on paper, each pencil‑signed, dated and numbered lower margin, 7 1/2 in. x 6 in. to 12 1/4 in. x 9 3/4 in., unframed. (4 pcs.) $400/600

219. Clarence John Laughlin (American/Louisiana, 1905‑1985), "Tree of Fear", 1941, silver gelatin print, signed, titled and dated lower margin, artist stamp, print date "January 1982", title and inscription by artist en verso, 13 1/2 in. x 10 1/2 in., framed. $600/800

220. Ettore Sottsass (1917‑2007) for Memphis Porcelain "Nilo" Vase, 1983, impressed mark "E. Sottsass per Memphis", h. 11 7/8 in., dia. 5 1/2 in. $400/600

221. Alberta Kinsey (American/New Orleans, 1875‑1952), "French Quarter Courtyard", oil on canvas board, signed lower left, "Farish Art Store, Royal St., New Orleans" label en verso, 14 in. x 13 in., period frame. $1000/1500

222. Anne Goldthwaite (American/Alabama, 1869‑1944), "Portrait of a Seated Woman", ink on paper, signed lower right, sheet 12 1/2 in. x 9 1/2 in., framed. $500/800
Provenance: Saint Augustine's University, Raleigh, NC.

223. Anne Goldthwaite (American/Alabama, 1869‑1944), "Study for Selma", graphite and charcoal on paper, pencil‑signed lower right, sheet 12 1/4 in. x 9 in., framed. $500/800
Provenance: Saint Augustine's University, Raleigh, NC.

224. Rolland Harve Golden (American/Louisiana, b. 1931), "French Quarter Courtyard", 1963, oil on artist board, signed and dated lower right, inscribed "Artist is / R.H. Golden / 624 Royal Street / New Orleans, LA" en verso, 20 in. x 23 3/4 in., framed. $1000/1500

225. George Hand Wright (American, 1872‑1951), "Royal St., New Orleans", "Antiques, New Orleans", "Old French Market, New Orleans", "Sieur George's, New Orleans", and "The Priest's Garden, New Orleans", 5 etchings on paper, each pencil‑signed and titled lower margin, 15 3/4 in. x 11 1/2 in. or 11 1/2 in. x 15 3/4 in., unframed. (5 pcs.) $400/600
Provenance: Collection of Gretchen and Alonzo Lansford, New Orleans.

226. Steele Burden (American/Louisiana, 1900‑1995), "Sow Feeding her Piglets", "Rat on an Ear of Corn" and "Two Hound Dogs Treeing a Raccoon", 3 crackle glazed ceramics, each incised "SB", 7 in. x 1 1/2 in. to 5 in. x 4 1/2 in. (3 pcs.) $700/1000

227. Steele Burden (American/Louisiana, 1900‑1995), "War is Hell" and "Turtles", 2 crackle glazed ceramics, one titled, both incised "SB", 7 in. x 2 1/2 in. to 6 in. x 4 1/2 in. (2 pcs.) $600/800

228. Steele Burden (American/Louisiana, 1900‑1995), "Alas Poor Yorrick" and "Stoning", 2 crackle glazed ceramics, one titled, both incised "SB", 5 in. x 4 in. to 5 1/2 in. x 3 in. (2 pcs.) $600/800

229. Steele Burden (American/Louisiana, 1900‑1995), "Sunday Morning Church", "A Day at the Beach" and "Mardi Gras Float led by Flambeaux", 3 crackle glazed ceramics, 2 incised "SB", 6 1/2 in. x 2 1/2 in. to 7 1/2 in. x 4 in. (3 pcs.) $700/1000

230. Ellsworth Woodward (American/New Orleans, 1861‑1939), "Clotho, A Fate", etching, initialed lower margin, 10 3/4 in. x 8 1/2 in., framed. $400/600

231. Morris Henry Hobbs (American/New Orleans, 1892‑1967), "Courtyard of the Maison Brulatour, Old New Orleans", 1948, "Patio ‑ The Bosque House, Old New Orleans", 1945, "St. Louis Cathedral, Old New Orleans", "Old Decatur at New Orleans", "Old New Orleans", 1948 and "Sunlight and Shadow, Old New Orleans", 5 etchings and 1 aquatint on paper, each pencil‑signed, titled and 3 dated lower margin, 5 in. x 3 1/4 in. to 13 in. x 8 in., 3 framed. (6 pcs.) $1500/2500.
Note: The etching "Old New Orleans" accompanied by original folder was "presented in a limited edition for members of the Miniature Print Society" in 1948

232. Lourdes Almeida (Mexican, b. 1952), "Sariel", "Samail", "Untitled: Male Nude" and "Untitled: Male Nude Torso", 1996, 4 silver gelatin prints, each signed, dated, 2 titled and 2 numbered "1/10" lower margin, sights 12 in. x 16 in. to 17 in. x 14 in., framed alike. $800/1200
Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

233. Eugene Delcroix (American/New Orleans, 1891‑1967), "Lacy Balconies, Royal Street" and "Cathedral through Gateway", 2 hand‑colored photographs, each pencil‑signed and titled on mat board, "Holmes Art Gallery, NOLA", "Downtown Frames & Pictures Co., NYC" and "Korzendorfer‑Bick Picture & Frame Co., St. Louis" labels en verso, sheets 10 in. x 8 in. and 10 in. x 7 1/2 in., unframed. (2 pcs.) $200/300

234. Dale Chihuly (American, b. 1941), "Blue Seaform Set with Yellow Lip Wrap", signed, larger h. 5 1/4 in., w. 11 in., d. 7 1/2 in. (2 pcs.) $2000/3000

235. Decorative Creme Peinte and Silverplate Carving Trolley in the Louis XVI Taste, revolving domed cover, frieze fitted with plate stand, h. 45 in., w. 36 in., d. 36 in. $2000/3000

236. Neoclassical Verdigris Patinated Bronze Figural Center Table, later tempered glass top, twin cherubs on foliate plinth, h. 30 in., w. 49 3/4 in., d. 29 1/2 in. $1500/2500

237. Pair of French Gilt Bronze‑Mounted Sienna Marble Urns, 19th c., swan handles, foliate collar, plinth base, h. 16 in., w. 8 in., d. 4 1/2 in. $700/1000

238. Empire‑Style Gilt and Patinated Bronze Chandelier, early 20th c., single light, font mounted and faceted crystal spheres, h. 36 in., dia. 20 in. $600/900

239. Chinese Famille Verte Porcelain Fishbowl, Qing Dynasty (1644‑1911), decorated with the Eight Immortals and Queen Wangmu, h. 12 in., dia. 14 1/2 in. Note: Restoration. $700/900
Provenance: Estate of Stephen G. Henry, Baton Rouge, LA.

240. Chinese Famille Rose Porcelain Fish Bowl, late 19th/early 20th c., exterior with a scene of noblemen and warriors in an outdoor setting, carved brown glazed bands encircling shoulder and foot, h. 12 in., dia. 14 3/4 in. $400/600
Provenance: Estate of Stephen G. Henry, Baton Rouge, LA.

241. Gilt Bronze‑Mounted Japanese Imari Porcelain Tazza, early 20th c., well with birds amid peonies and rocks, foot with bird‑and‑flower panels; everted openwork rim, shishi mask feet, h. 9 3/4 in., dia. 10 1/4 in. $600/900

242. Large Japanese Patinated Bronze Elephant Koro, Meiji Period (1868‑1912), caparisoned figure with detachable 2‑part pagoda with phoenix finial on back, saddle blanket with kirin, base with cast signature "Fukui Kichisani sei zo", h. 20 1/4 in., w. 19 1/2 in., d. 8 in. $1000/2000

243. Japanese Patinated Bronze Vase, probably early 20th c., horned beast handles, relief cast with bird‑on‑branch and monkey‑on‑branch panels, base with five‑character mark, h. 23 in., w. 17 in. $500/700

244. Pair of Chinese Carved Hardwood Horseshoe Back Armchairs, probably Huanghuali, U‑shaped crestrail and scroll arms terminating in dragon heads, S‑curved splat carved with dragon panels, paneled seat framed with a carved gallery, dragon frieze, cabriole legs, claw and ball feet, box stretcher, h. 39 1/2 in., w. 28 1/2 in., d. 24 in. $10000/15000
Provenance: Estate of Dr. Henry William Jolly (1917‑2004), Baton Rouge, LA.
Note: For a similar Huanghuali chair with raised animal claw feet resting on a box stretcher, see Sotheby's, New York, Fine Chinese Furniture, Works of Art and Carpets from the Arthur M. Sackler Collections, Sept. 16, 2009, lot 34. For examples of Chinese chairs with scroll feet resting on balls supported by stretchers see Guangzhou‑style chairs, including lot 2503, sold Christie's, Hong Kong, Important Chinese Ceramics and Works of Art, Dec. 3, 2008.

245. Continental Specimen Marble and Carved Mahogany Games Table, 19th c., gadrooned top, vasiform support with carved collar, S scrolled legs, h. 30 in., w. 24 1/4 in., d. 24 1/4 in. $800/1200

246. Italian Neoclassical Painted Commode, probably 18th c., faux marbre top, three graduated drawers, square tapered legs, h. 34 in., w. 44 1/2 in., d. 22 3/4 in. $1000/1500

247. Pair of Blue and White Delftware Covered Jars, 18th/19th c., "WK" marks, possibly for Willem van der Kool, De Drie Porceleyne Flessies, octagonal bodies and covers with ribbed walls decorated in Chinese style, h. 21 3/4 in. $500/700

248. Large Chinese Export‑Style Famille Rose Porcelain "European Hunt" Bowl, 20th c., vibrantly enameled with hunt scenes on a blue and gilt ground, base with Qianlong mark, h. 7 3/8 in., dia. 16 1/4 in. $150/250
Provenance: The Sturm Collection.

249. Set of Eight Sevres‑Style Polychrome Porcelain "Chateau des Tuileries" Portrait Plates, early 20th c., bearing crowned Louis‑Philippe mark with "1844", and "S.37", painted with various French noble women on apple green grounds with raised gilt highlights, signed "Moreau", dia. 9 1/2 in. $1000/1500

250. Near Pair of Chinese Export Blue and White Porcelain Dishes, 17th/18th c., central star panels with plants and rocks in waterscapes, bases with double ring marks, dia. 10 3/4 in. Note: Restoration to one. $800/1200
Provenance: Sallea Antiques, New Canaan, CT, 2011.

251. Chinese Export Famille Rose Porcelain Gu‑Form Vase, 19th c., decorated with figural and bird‑and‑butterfly panels on a gilt ground with flowers and butterflies, h. 13 1/8 in. $200/300
Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

252. Chinese Export "Mandarin" Palette Porcelain Punchbowl, 18th/19th c., decorated with figural scenes on an iron red and gilt diaper ground, h. 4 5/8 in., dia. 10 3/8 in., stand, overall h. 6 1/2 in. Note: Restoration. $200/300
Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA.

253. Gilt Bronze‑Mounted Sevres‑Style Porcelain Covered Centerbowl, c. 1900, fruit finial, reticulated collar, cherub and floral decoration, h. 12 1/2 in., dia. 10 in. $500/700

254. Gilt Bronze‑Mounted Bleu Celeste Porcelain Vase, c. 1900, cherub mask handles, reserve with courting couple, signed "Henri", h. 21 in. $400/600

255. Louis XVI‑Style Gilt Bronze‑Mounted Carved Mahogany Sideboard, molded marble top, two frieze drawers over doors, side compartments with curved doors, conforming molded base, reeded legs, h. 40 3/4 in., w. 90 1/2 in., d. 21 1/2 in. $700/1000

256. Manner of David Teniers the Younger (Flemish, 1610‑1690), "Landscape with Peasants Conversing", oil on canvas, unsigned, "Fogg Museum, Harvard University, Cambridge, MA" partial label en verso of frame, 38 3/4 in. x 34 3/4 in., antique gilt frame with artist and title plaque. $1000/1500
Provenance: The Sturm Collection.

257. School of Titian (Italian, 1490‑1576), "Madonna, Christ and St. John the Baptist", oil on canvas, unsigned, "Wadsworth Atheneum, Hartford, Ct." exhibition label with artistic attribution and provenance and 2 illegible handwritten labels en verso, 33 in. x 27 in., antique frame. $4000/6000
Provenance: Rev. Dr. and Mrs. Remsen B. Ogilby, Hartford, CT; Private Collection, CT.
Exh.: "Paintings in Hartford Collections", Wadsworth Atheneum, CT, c. 1936 and listed in the exhibition catalogue as #339.

258. Antique Continental Inlaid Carved and Burled Walnut Serpentine Chest of Drawers, 19th c., marquetry top, three drawers, molded base, bun feet, h. 35 in., w. 48 in., d. 29 in. $600/900

259. Two Spanish Colonial Carved and Painted Wood "Santo" Figures of Christ Crucified, 18th/19th c., smaller with hinged arms mounted to iron strap, h. (to top of head) 29 1/2 in. and h. 33 1/2 in. $800/1200

260. Pair of Gothic Porcelain Inset and Cloisonne Embellished Brass Six‑Light Candelabra, 19th c., shaped base, h. 18 5/8 in., now mounted as lamps, h. (to finial) 31 1/2 in. $400/600

261. French Gilt Metal and Blue Opaline Glass Six‑Light Chandelier, early 20th c., scroll arms, electrified, h. 24 in., dia. 16 in. $500/700
Provenance: Estate of Stefanie C. Golden, Florence, Italy.

262. Pair of Italian Polychromed Metal Two‑Light Sconces, 20th c., floral bouquet, electrified, h. 17 in., w. 14 in., d. 5 in. $400/600
Provenance: Estate of Stefanie C. Golden, Florence, Italy.

263. Napoleon III Bronze and Tôle Peinte Bouillotte Lamp, 19th c., oval, adjustable shade, now electrified, h. 21 1/2 in., w. 10 1/2 in., d. 7 1/2 in. $200/300

264. American Cast Iron Gothic Garden Bench, 19th c., serpentine crest, horseshoe back, pierced seat, relief decorated cabriole legs, h. 35 in., w. 44 1/2 in., d. 18 1/4 in. $1000/1500
Provenance: New Orleans Estate.

265. American Federal Walnut Wingchair, 18th c., Virginia, tapered back, slightly flared wings, scrolled arms, tapered square legs connected by stretchers, h. 43 1/4 in., w. 26 1/2 in., d. 19 in. $800/1200

266. American Classical Carved Mahogany Bowfront Chest, 19th c., shaped top, columnar stiles, four graduated drawers, rectangular plinth, turned foliate carved feet, h. 42 3/4 in., w. 47 in., d. 24 in. $1000/1500

267. American Classical Carved Mahogany Work Table, early 19th c., probably Philadelphia, lift top, birdseye maple stiles, torus molded fitted tray over two drawers, cylindrical standard, incurvate plinth, acanthus carved paw feet, casters, h. 31 1/8 in., w. 20 1/4 in., d. 16 3/4 in. $500/800
Provenance: Bernard Caperton, Charlottesville, VA.

268. American Classical Carved Mahogany Daybed, early 19th c., cylindrical crests, paneled head and foot board, foliate‑carved uprights, bulbous‑turned feet, h. 33 in., w. 71 1/2 in., d. 27 1/4 in. $500/750

269. William IV Burl Walnut Canterbury, mid‑19th c., divided compartments, spindled uprights, low drawer, turned legs, casters, h. 20 in., w. 21 in., d. 15 in. $700/900
Provenance: Keil's Antiques, Inc., New Orleans, LA, 2001; Estate of Stephen G. Henry, Baton Rouge, LA.

270. Pair of Innovative Italian Painted and Gilt Side Chairs, early 20th c., gothicized back, floral painted splat, shaped seat, slender tapered legs, stretchers, h. 48 7/8 in., w. 16 in., d. 15 1/4 in. $1000/1500

271. Italian Marble Bust of Diana, 1893, after the Antique by Leochares, "Diana / Gall[eri]a Lapini / Firenze 1893" inscribed on truncation, h. 18 in., w. 14 in., d. 7 3/4 in., marble socle, overall h. 22 3/4 in. $1000/1500

272. Enrico Butti (Italian, 1847‑1932), "Model for the Monument to the Battle of Legnano", patinated bronze, signature inscribed on self‑base, h. 38 in., w. 20 1/2 in., d. 15 1/2 in. $1000/1500
Note: Sculptor Enrico Butti created the prototype for this work as a model for the monument to the Battle of Legnano, specifically the compagnia della morte where the Lombard League defeated the forces of the Holy Roman Empire led by Emperor Frederick Barbarossa. The work was exhibited at the Triennale of Milan exposition in 1897, and it proved quite popular, allowing the artist to finally gain recognition for his exceptional talent. As Ashton Rollins Willard describes the piece in History of Modern Italian Art, “his face as well as his shirt of mail and his battered shield were of that strange archaic type which sends a shiver through one's muscles by its almost uncanny evocation of a forgotten past.” The monument which was inaugurated in 1900 still stands in Legnano today.
Ref.: Willard, Ashton Rollins. History of Modern Italian Art. Norwood: Norwood Press, 1898, p. 229.

273. Bashka Paeff (Russian/American, 1894‑1979) "Crouching Child Holding a Sea Shell", bronze, inscribed "BASHKA PAEFF / ROMAN BRONZE WORKS / NY" in circular base behind proper left foot, h. 27 1/2 in., dia. 20 3/4 in., presented on bronze pedestal. $3000/5000, inscribed "G. SCHOONMAKER Sc." and "GORHAM CO. FOUNDERS" on base, overall h. 73 in., dia. 39 1/2 in.
Note: Bashka Paeff was a noted American sculptor from Boston, Massachusetts. Her sculptures are featured in institutional collections and installed as public art. A very similar sculpture to the one offered here, titled “Boy and Bird,” is mounted as a fountain at the Arlington Street entrance to the Boston Public Garden.

274. French Patinated Bronze Figure of the "Venus de Milo", after the Antique, inscribed "F. Barbedienne.Fondeur" on rear truncation with "A. Collas Reduction Mecanique" seal on base reverse, h. 33 3/4 in., w. 10 1/4 in., d. 8 1/4 in. $800/1200
Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

275. Napoleon III Gilt and Patinated Bronze Figural Clock, c. 1850, "Japy Freres" movement, surmounted by Native American princess allegorical of "America", h. 16 in., w. 13 1/2 in., d. 5 in., presented in glass dome, overall h. 21 1/4 in., w. 16 1/2 in., d. 8 1/4 in. $2500/3500

276. American Renaissance Gilt‑Incised, Ebonized and Carved Walnut Bedroom Suite, mid‑19th c., New York, attr. to Thomas Brooks, bed with figured burl walnut panels, architectonic headboard centered by a winged bust, bulbous turned finials surmounting the posts, conforming foot board; dressing chest with molded cornice centered by a female bust, marble top, three graduated drawers, flanked by fluted stiles, plinth base, bed h. 98 in., l. 79 in., w. 58 1/2 in.; chest h. 94 in., w. 51 1/2 in., d. 23 1/2 in. (2 pcs.) $5000/10000
Note: The finely carved bedroom suite shown here is closely related to examples of Renaissance-revival furniture by Brooklyn cabinetmaker Thomas Brooks. The bed, featuring an architectonic headboard centered by a winged bust, is nearly identical to a Brooks example, marked with the firm's stencil, illustrated by Eileen and Richard Dubrow in American Furniture of the 19th Century. The dresser en suite features drawers with similar paneled turnings and an overall lower case form comparable to a Brooks secretary bookcase also illustrated by Dubrow.
Ref.: Dubrow, Eileen and Richard. American Furniture of the Nineteenth Century. Schiffer: Pennsylvania, 1983, pp. 200, 208.

277. Fine American Renaissance Carved and Gilt‑Incised Rosewood Armchair, c. 1865‑1870, New York, architectonic crest rail centered by a centurian medallion, padded back and arms, scrolled uprights, turned legs, casters, h. 34 3/4 in., w. 26 in., d. 22 in. $700/900

278. Very Rare American Rococo Carved and Laminated Rosewood Library Armchair, c. 1850‑1860, attr. to John Henry Belter, New York, extensive floral crest, scrolled, pierced and padded seat back, incurvate arms and uprights, floral carved serpentine seat rail, acanthus carved cabriole legs, casters, h. 41 in., w. 24 1/2 in., d. 17 1/2 in. $3000/5000

279. American Belle Epoque Carved Mahogany Adjustable Easel, upright supports, trestle base on dolphin supports, h. 82 1/4 in., w. 22 3/4 in., d. 23 1/2 in. $500/1000

280. American Classical Carved Mahogany Pier Table, early 19th c., Boston, Egyptian marble top, cove‑molded frieze, foliate carved tapered columnar supports, tapered pilasters flanking mirror back, incurvate plinth base, h. 33 in., w. 41 3/4 in., d. 17 in. $1500/2500
Note: Several aspects of the pier table shown here, such as the Egyptian marble top, bolection frieze, exuberantly carved supports, and incurvate plinth, relate to Classical pier tables by Boston cabinetmakers such as Isaac Vose and Emmons & Archibald. A pier table by Emmons & Archibald in the collection of the Museum of Fine Arts Boston features the pairing of an Egyptian marble top and a shaped lower plinth. A table with a similar overall form and bolection frieze attributed to Boston was sold in these salesrooms on Feb. 23, 2008, as lot 92.
Ref.: Pearce, Clark. “Classical Excellence in Boston: The Work of Isaac Vose.” Accessed October 17, 2017; Museum of Fine Arts Boston. Accessed October 17, 2017.

281. American Renaissance Carved Rosewood Work Table, mid‑19th c., New York, molded drop leaf top, two drawers with swagged drapery pulls, fluted columnar uprights, shaped and incised stretcher with final, casters, h. 30 1/2 in., w. 22 1/2 in., d. 20 1/4 in. $700/1000

282. French Cast Iron Baker's Table, 19th c., marble or slate stop, acanthine pendant frieze, C scroll supports, fleur‑de‑lis and brass fitted stretchers, brass ball feet, h. 29 3/4 in., w. 43 3/4 in., d. 29 3/4 in. $1200/1800

283. Six Antique Directoire‑Style Carved Mahogany Salon Chairs, 19th c., incl. 2 arms and 4 sides, incurvate crests, cylindrical arms, shaped stiles, trapezoidal seat rail, tapered legs, blocked at base, armchair h. 35 3/4 in., w. 24 1/2 in., d. 17 1/2 in., side chair h. 35 1/4 in., w. 17 1/2 in., d. 17 in. $1500/2500

284. Attributed to Jean‑Baptiste Pillement (French, 1728‑1808), "Pastoral Scene", oil on canvas, unsigned, illegibly inscribed lower right, 35 1/4 in. x 28 in., period frame. $2500/3500

285. Italian School, 17th/18th c., "Bacchanal", oil on canvas, unsigned, handwritten inscription "Zuccari" en verso, 44 1/2 in. x 37 3/4 in., framed. $1500/2500

286. Aesthetic Movement Tiffany & Co. Makers Sterling Silver Oval Tureen, pattern introduced 1880, with molded loop handle and strapwork bands, July 1880 presentation engraved on underside, h. 8 5/8 in., w. 13 5/8 in., d. 8 in. wt. 60.25 troy ozs. $2500/3500

287. Tiffany & Co. Makers Sterling Silver Circular Tray, mid‑20th c., serpentine molded border, dia. 16 7/8 in., wt. 58.80 troy ozs. $1800/2500

288. Mexican Sterling Silver Tea and Coffee Service in the Spanish Colonial Taste, Eddie's, Mexico City, c. 1950, incl. kettle‑on‑stand, teapot, coffee pot, sugar, creamer, waste bowl and tray, kettle‑on‑stand, h. 15 1/4 in., coffee pot h. 11 in., tray l. 31 in., total wt. 279.95 troy ozs. $3000/5000

289. Tiffany "Hampton" Pattern Sterling Silver Flatware Service for Twelve, pat. 1934, c. 1934‑1947, incl. 12 each: dinner forks, dinner knives, salad forks, cream soup spoons, dessert/oval soup spoons, teaspoons, iced tea spoons, citrus spoons, cocktail forks and butter spreaders (fh); vegetable serving spoon, cold meat fork, gravy ladle, master butter knife (hh), cream ladle, cake/pie knife (hh), and cheese knife (hh), (127 pcs.), total wt. (weighable) 186.90 troy ozs; presented in a fitted mahogany case. $7000/9000

290. George V Sterling Silver Presentation Bowl in the Arts and Crafts Taste, Walker & Hall, Sheffield, 1914, mark reg. 1894, hexagonal paneled form, squared handles with foliate terminals, scrolled feet, 1915 presentation inscription "FROM THE OFFICERS OF THE/ 16TH MIDDLESEX REGIMENT", h. 5 3/4 in., w. 11 7/8 in., wt. 40.50 troy ozs. $800/1200
Provenance: The Sturm Collection.

291. Two English Sterling Silver Chalices, Walter and John Barnard, London, 1881, mark reg. 1877, flat chased decoration in the Arts and Crafts taste, both retaining gilt wash interior, one with traces of gilt exterior, h. 9 in. and 8 7/8 in., wt. 24 troy ozs. $500/1000

292. Set of Sixteen Georgian‑Style Silverplate Service Plates, in the Chippendale taste, with gadrooned borders and engraved crests, dia. 11 3/8 in. $800/1200

293. American Gilt Bronze Solar Lamp, c. 1850, attr. to Hooper, fluted Ionic column on plinth base, globe shade with floral reserves, h. 24 in. $800/1200
Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

294. American Gilt Bronze Camphene Lamp, mid‑19th c., attr. to Starr Fellows, New York, floral design on three feet, melon‑form shade, prisms, h. 18 in. $800/1200
Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

295. American Patinated Metal Figural Camphene Lamp, c. 1850, marked Cornelius & Baker, three Graces supporting a pear‑shaped font, floral cut globe shade, h. 20 in. $500/700
Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

296. Ripley Blue and White Clambroth Glass Wedding Lamp, c. 1870, tall standard in white with two blue fonts, cut shades, h. 21 in. $600/900
Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.

297. Fine and Large Continental Cold‑Painted Metal Figure of a Banjo Player, c. 1900, based on models by Emile Guillemin (French, 1841‑1907) and Friedrich Goldscheider (Austrian, 1845‑1897), modeled seated on a "bamboo" stool, indistinctly inscribed on top of stool, h. 31 in., w. 15 1/2 in., d. 13 1/4 in. $12000/18000

298. Louis Philippe Carved Giltwood Overmantel Mirror, 19th c., molded arched surround with rope and beaded motif, lower corners with flower clusters, h. 67 1/2 in., w. 44 in. $1500/2000

299. Fine American Renaissance Parcel Gilt Walnut and Rouge Marble Mantel Clock, c. 1855, marble dial faintly etched "L. Marcotte" (Leon Alexandre Marcotte, 1824‑1887); striking bell movement marked "Ringuet a Paris" (Auguste‑Emile Ringuet‑Leprince, 1801‑1886) and "Vincenti & Cie., 1855", h. 22 in., w. 24 3/4 in., d. 7 1/2 in. $2500/3500
Note: French born Leon Alexandre Marcotte (1824-1887) attended the Ecole des Beaux Arts and trained as an architect in the studio of the leading neoclassical, rationalist architect, Henri Labrouste. Marcotte entered the furniture trade by 1835 when his sister, Marie-Felicite, married the well-established Parisian cabinetmaker Auguste-Emile Ringuet-Leprince. Marcotte and Ringuet-Leprince moved to New York in 1848 and set up business on lower Broadway. Marcotte ran the New York end of the partnership and Ringuet-Leprince traveled back and forth to Paris, making certain that their New York clients were supplied with the latest French taste in furniture and household furnishings. Their business was known successively as Maison Ringuet-Leprince (1840-1849) and Ringuet-Leprince & L. Marcotte (1849-1860). Ringuet-Leprince retired in 1860 and the firm became known as L. Marcotte and Company.
Ref.: Gray, Nina. “Leon Marcotte: Cabinetmaker and Interior Decorator.”, accessed: 10/17/17.

300. Black Forest Carved Hallstand, late 19th c., tree‑form standard with three bear cubs, large lower bear, umbrella holder, naturalistic base, h. 87 in., w. 31 in., d. 27 in. $5000/8000

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