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.

301. An English Porcelain Urn-Form Pastille Burner, early 19th c., painted and gilt in the Imari taste, paw feet on a shaped base supporting a mask-decorated body below a pierced rim, perforated well, lacking cover, height 4 in., diameter 5 1/2 in. $300/500

302. A Large English Transfer-Printed Scenic Pearlware Pitcher, c. 1800, the body encircled by a view of a country mansion, bridge, windmill and Gothic church in a rich landscape, floral band decoration, height 8 3/4 in., diameter 8 in.; together with a blue and white English porcelain saucer, 19th c., with foliage, marked "Miles Mason", diameter 5 1/2 in. Note: Cracks; together with three English ironstone table items, comprising a pitcher, purple transferware plate, and an "Imari" plate. $300/500

303. A Paris Porcelain Polychrome and Gilt Encrier with Watch Holder, c. 1840, in the Jacob Petit manner, having applied flowers, painted bouquet and azure and peach decoration, height 6 1/4 in., width 10 in. Note: Losses and repairs. $200/300

304. A Good Paris Porcelain Chinoiserie Jardinière on Stand, c. 1840, having large reserves on a peach ground, one finely painted with elaborately costumed figures, the reverse with pagodas in a landscape, on scroll-footed stand, gilt embellishments throughout, height 7 1/2 in., width 7 in. $800/1200

305. A Set of Eighteen Antique Crown Derby Porcelain Soup Plates, c. 1840, rims decorated with gilt foliate scrolls, wells embellished with boars above elaborate monograms, marked in red with Derby crown and banner, diameter 10 in. Note: chips and cracks (including glaze cracks), one with large repair to rim - two with old staple repairs, some loss to gilt. $400/600

306. An Antique English Mason's Ironstone Dinner Service, mid-19th c., comprising two graduated platters, 2 covered vegetable tureens, 2 sauce tureens with undertrays (one repaired), 12 dinner plates, 12 soup plates, 12 luncheon plates and 12 bread and .butter plates, base with crowned Mason's patent Ironstone China stamp, (approx. 55 pcs). $2000/3000
Provenance: Freret-Bultman House, New Orleans; Used by Muriel Bultman Francis both in her New York City townhouse and her New Orleans Garden District home.

307. A Very Fine George III Mahogany Architect's Cabinet, c. 1790, hinged adjustable leather top, the conforming base having a pair of paneled doors enclosing five sliding trays with reeded edges, blocked base, closed height 33 in., width 42 in., depth 29 in. $7000/10000
Provenance: The London Shop, New Orleans.

308. A George III Mahogany Corner Cupboard, late 18th c., in two parts, having a dentil molded cornice, glazed doors, architectural fitted interior of scalloped shelves, waist drawer and paneled doors, scalloped base, bracket feet, height 84 in., width 41 in., depth 29 in. $1800/2500

309. An American Chippendale Cherrywood Tilt-Top Tea Table, 18th c. and later, having a serpentine top, vasiform stem, arched legs ending in slipper feet, height 27 1/2 in., width 30 in, depth 31 in. Note: Restorations. $1000/1500

310. A Pair of Regency-Style Mahogany and Brass Etageres, pierced gallery, tiered shelves on reeded brass supports, tapered legs, height 23 in., width 24 in., depth 9 1/2 in. $500/750

311. An Antique Venetian Rococo Carved Crème Peinte and Gilt Bureau Plat, 19th c., the elongated serpentine desk top with inset tooled leather writing surface, foliate and shell carved skirt with two opposing drawers on cabriole legs; the cartonnier having a broken arch cornice, glazed doors and center drawers on scrolled feet, height 56 in., length 53 in., width 40 in. $2500/3500

312. An Antique Continental Rococo-Style Faux Marbre and Argenté Mirror and Console, having a C and S scrolled, scalloped and arched mirror with cabochons to the sides above a faux marbre serpentine top, foliate-carved scalloped skirt with pierced cabochon, cabriole legs ending in scrolled toes, height 94 in., width 45 1/2 in., depth 13 1/2 in. $3000/5000

313. A Queen Anne Inlaid Burled Walnut Slant-Front Bureau, 18th c. and later, having cross-banded and chevron inlaid borders, inset tooled leather writing surface, fitted interior of scalloped cubbyholes, drawers and prospect door, candle drawers and short drawer above three inlaid graduated drawers, molded bracket foot base, height 41 in., width 48 in., depth 21 1/2 in. $1200/2000

314. A Regency Brass-Inlaid Mahogany Sofa Table, early 19th c., crossbanded top with drop leaves and reeded edge, the skirt with a pair of inlaid drawers, molded supports, arched scrolled legs ending in brass caps and casters, height 29 1/2 in., width 43 1/2 in., depth 27 in. $3000/4000

315. A George III Inlaid Mahogany Games Table, late 18th/early 19th c., demilune top opening to a baize-lined playing surface, figured skirt with patera inlay, square tapering legs, spade feet, height 30 in., width 33 1/2 in., closed depth 16 1/2 in. $1200/1800

316. An Antique Federal-Style Carved Mahogany Curule Armchair, mid-19th c., shield back, flat slightly curved arms, patera carved splats, curved seat rail and X-form legs with large patera boss, stretchers, height 37 in., width 20 in., depth 17 in. $700/1000

317. A George III Mahogany Bedside Commode, c. 1780 with later elements, pierced gallery above a hinged fall front, lower drawer, stiles continuing to square legs, height 30 in., width 22 in., depth 16 in. $800/1200
Provenance: Henry Stern, New Orleans.

318. An Antique George III-Style Carved Mahogany Window Bench, reeded scrolled uprights terminating in rosettes, straight molded seat rail on square molded tapered legs ending in spade feet, height 25 in., width 57 in., depth 13 in. $600/900

319. Thomas Blinks (English, 1860-1912), "The Kill", oil on canvas, signed and dated "89" lower right, 30 in. x 47 1/2 in., in a gilt and gessoed wood frame. $30000/50000
Provenance: Collected in the early 20th c. by a notable Texas family.
Note: An accomplished painter of sporting pictures, Blinks was particularly admired for the sense of energy and immediacy with which he imbued his hunting scenes. He received numerous royal commissions from King George V, who was impressed by the artist's ability to accurately and convincingly portray animals in motion. The painting offered here depicts the highly charged moment of "who-whoop", which occurs at the end of the hunt with the official announcement of the fox's death. It is at this time that the lead huntsman grabs the fox from the jaws of the excited hounds. Blinks pays special attention to the hounds, successfully capturing their various aspects and personalities; the disinterested hound watching calmly from the sidelines, the hound licking his wounds, the growling hound angered at the sight of the fox. With this work, it is apparent why Blinks is considered the pre-eminent 19th c. painter of foxhounds.
References: Bénézit. Dictionnaire des Peintres, Librairie Grund, 1976, vol.II, p. 83. Wood. Victorian Painters. Antique Collector's Club.1995.

320. Childe Hassam (American/New York, 1859-1935), "A Carriage Road", oil on canvas, signed lower right, 18 in. x 12 in., in an ornately carved period giltwood frame. $50000/70000
Note: Frederick Childe Hassam studied with both American and French artists, and eventually became known as the premier American Impressionist due to his flattened brushwork, his scenes of contemporary American life, and his ability to capture an "impression" of a specific place and time in his paintings. Beginning his career as an apprentice to a wood engraver and a draftsman, between 1879 and 1882, Hassam supported himself by working as an illustrator, while painting more and more frequently outdoors for his own pleasure, an uncommon practice at this time. When Hassam moved to a large studio building on Tremont Street, he came in contact with artists such as George Fuller, who shared Hassam's interest in the effects of light and color in painting, as well as the teachings of the late William Morris Hunt, a member of the American Barbizon school. Hassam and his wife, Maude, decided to move to Paris in 1886, where he could further his artistic abilities by studying at the Academie Julian, run by Rodolphe Julian. One of the major influences that Paris had on Hassam was his exposure to the Impressionist painters' works, which allowed him to expand his color palette. Returning to Boston in 1889, Hassam took with him a new painting technique that had evolved from a Barbizon-like, naturalistic approach into his mature manner of painting, an impressionistic style filled with light and color.
"A Carriage Road", most likely a painting from Hassam's early Boston period, nonetheless illustrates his Impressionist-like tendencies to focus on color and optics in a painting. It is clear that his analysis of the landscape paintings of William Morris Hunt, whose teachings he studied even after Hunt's death, influenced Hassam's technique in his early career. The prominent use of browns and greens, along with the subject matter of a country road in a wooded area, adheres to the naturalistic principles of the Barbizon School, which can also be seen in works such as Hassam's "A Back Road" from 1884, now in the Brooklyn Museum, and his "The Barnyard", of 1885, in a private collection. In Hassam's feathery brushstrokes and patchy application of paint to the canvas, along with his treatment of light as it hits the multiple surfaces of the ground, the tree bark, and the plant leaves, one can see the foundations of his later Impressionist techniques. In addition, the inclusion of the horse-drawn carriage, which appeared in many of his early Boston-era paintings, illustrates Hassam's propensity to incorporate elements of modernity, another objective of the Impressionist movement. Overall, this charming picture is a wonderful example of Hassam's early paintings, as well as an exciting indicator of his future work
References: Weinberg, H. Barbara. Childe Hassam: American Impressionist. Yale University Press, New Haven, Connecticut, 2004.
Adelson, Warren, Jay E. Cantor, and William H. Gerdts. Childe Hassam: Impressionist. Abbeville Press, New York, 1999.
Hiesinger, Ulrich. Childe Hassam: American Impressionist. Prestel Verlag, Munich,1999.

321. An American Renaissance Incised and Carved Walnut Portfolio Stand, late 19th c., the adjustable portfolio rack on carved stretcher base with casters, height 43 in., width 31 in., depth 19 1/2 in. $1500/2000

322. An American Classical Carved Mahogany Sideboard, early 19th c., Philadelphia, the top with a cross-banded splash rail, a pair of cross-banded candle drawers flanking a long drawer, bookmatched arched paneled cupboard doors flanked by acanthus-carved spiral-turned stiles, raised on acanthus-carved paw feet, height 49 in., width 47 in., depth 23 in. $1200/1800

323. An American Classical Carved Mahogany Extension Dining Table, c. 1825, the figured top with rounded corners, with brass mounted accordion action extension, two associated leaves, height 28 in., length with leaves 81 in., total possible extended length 172 in., width 51 in. $5000/7000
Note: The innovative concertina-action extension mechanism on this table recalls extensions patented in England by the prestigious Gillows firm of Lancaster and London in 1800, and is further related to a Philadelphia table held by the Telfair Museum of Art, Savannah and a table made by the Briggs Company of Boston and sold by Neal Auction Company as lot 258, February 23, 2008. The convenient aspects of the concertina-expansion technique were likely to be appealing to the newly wealthy and technologically savvy families of the United States.
Reference: A Gillows accordion extension table from 1813 made for Broughton Hall, Yorkshire with similar mechanism to that in the table above is illustrated in Margaret Jourdain, Regency Furniture, p. 65, fig. 130.

324. An American Rococo Carved Rosewood Bedroom Suite, mid-19th c., attributed to Alexander Roux, New York, comprising a large bedstead, dresser, and bedside commode; the bedstead with arched molded head and foot board, centered by foliate cabochon cartouche, shaped upright posts, ending in flared feet, conforming scalloped rails; the dresser with an arched foliate carved mirror support bracketed at the base above serpentine marble top, four graduated foliate carved drawers, pendant brackets on chamfered corners, scalloped base, bracket feet; the commode having a serpentine marble top, conforming drawer and door, scalloped bracketed feet; bed: height 45 in., inside length 76 in., inside width 61 in.; dresser: height 89 in., width 43 in., depth 21 1/2 in.; commode: height 30 in., width 17 1/2 in/., depth 15 1/2 in. $8000/12000
Note: The distinctive cabochon cartouche centering the apron of the dresser in this group is identical to those on the sides of the skirt of a rosewood duchesse bearing the label of Alexander Roux at the New York State Museum. The birdseye maple interior and carved escutcheons also relate to the New York State Museum example.
The sophisticated design of this suite, incorporating historical Rococo forms (such as the asymmetrical cartouche cresting the dresser) juxtaposed with flourishes from the up-and-coming Renaissance Revival (seen most readily in the "strapwork" brackets and cartouches) recalls that on a rosewood bedroom suite labeled by Roux sold by Neal Alford Auction Company as lot 593, November 1988.
Reference: Scherer. New York Furniture at the New York State Museum, p. 96, pl. 95-95a.

325. A Good American Carved Mahogany Full Tester Bed, c. 1840-1850, probably New Orleans, the stepped and cove-molded cornice on tapering posts with suppressed baluster turnings, Gothic arch paneled columnar bases, paneled headboard with arched scrolling crest centered with a foliate shell, fan carved serpentine rails, height 117 in., length 79 in., mattress width 61 1/2 in. $8000/12000

326. A Set of Eight Antique Federal-Style Carved Mahogany Dining Chairs, comprised of two arm and six side chairs, each with shield back, bellflower carved crest and splats, molded stiles, trapezoidal seats, molded tapered square legs, height 37 1/2 in. $2000/3000

327. An American Classical Mahogany Armoire, early 19th c., canted cornice, plain frieze, pair of paneled doors, with fiche hinges and a pressed brass escutcheon, interior with belt of drawers, two side cabinets with flush panel doors, chamfered corners, reeded and turned legs, brass ball feet, height 91 in., width 62 in., depth 25 in. $4000/6000

328. Four American Classical Mahogany Gondola Dining Chairs, 19th c., New York, in the manner of Duncan Phyfe, incurvate wide crest rails, incurvate rectangular splat, curved stiles, rounded seat rails with slip seats, on saber legs, height 32 in. $2500/3500
Note: The scrolled crest and incurvate rectangular back and splat on each of these chairs is influenced by Duncan Phyfe's later chairs which clearly related to French Restauration forms. Chairs attributed to Phyfe and similar to these are in the collections of the White House and the Metropolitan Museum of Art.
Reference: Tracy. 19th-Century Furniture and Decorative Arts, pl. 79; Abbott and Rice. Designing Camelot, (Empire Guest Room decorated under Jacqueline Kennedy's supervision), p. 180.

329. A Good American Southern Cherrywood Cupboard, early 19th c., molded cornice, crotch veneered Gothic paneled doors enclosing adjustable shelves, the base with two drawers and paneled doors, scalloped base, bracket feet, height 92 in., width 53 in., depth 18 1/2 in. $2500/3500

330. Elizabeth O'Neill Verner (American/Charleston, 1883-1979), "Flower Seller", pastel, signed lower right, 15 in. x 10 1/2 in., attractively matted and framed. $4000/6000

331. Clarence Millet, A.N.A. (American/New Orleans, 1897-1959), "Batture Farm", oil on canvas board, signed lower left, exhibition loan label en verso, 14 3/4 in. x 18 in., in a period frame. $8000/12000
Provenance: According to family history, this painting was exhibited at the Louisiana State Museum in the 1950s.

332. Alice Ravenel Huger Smith (American/South Carolina, 1876-1958), "Charleston, South Carolina", pencil drawing on artist board, signed and dated "1912" lower right, stamped "Aquarelle tablets, Manufactured by F.W. Devoe & Co., New York" en verso, 17 3/4 in. x 22 in., unframed. $4000/6000

333. Clementine Hunter (American/Louisiana, 1886-1988), "Fourth of July Party", oil on canvas board, monogrammed lower right, c. 1958-60, 22 in. x 28 in., framed. $6000/9000

334. Marie Atkinson Hull (American/Mississippi, 1890-1980), "Mississippi Cypress Swamp", oil on canvas, signed lower left, 20 in. x 24 in. $8000/12000
Provenance: Descended in a Mississippi family.

335. Walter Inglis Anderson (American/Mississippi, 1903-1965), "Mallards (preparatory pencil sketch en verso)", watercolor on paper, unsigned, titled en verso, Luise Ross Gallery, New York City label en verso, 11 in. x 8 1/2 in., framed. $8000/12000

336. Alexander John Drysdale (American/New Orleans, 1870-1934), "Louisiana Bayou", oil wash on board, pencil signed and dated "1912" lower left, pencil inscription "Mr. Dughes..?" en verso, 18 in. x 24 in., framed. $2500/3500

337. An American Federal Inlaid Cherrywood Sugar Chest, c. 1800, Kentucky or Tennessee, molded hinged lid opening to a divided interior, raised on an integral stand with drawer raised on square tapered legs, the face and drawers finely inlaid with an elliptical panel and square panel with demilune corners, height 31 in., width 18 in., depth 16 1/2 in. $2000/3000
Note: A cherrywood sugar chest from Davidson County, Tennessee, with tall dovetailed case, plinth drawer and tapering legs similar to that in this lot is part of the collection of the Museum of Early Southern Decorative Arts, Winston-Salem, North Carolina.
Derived from Georgian bottle cabinets or cellarettes, sugar chests were a specialized form in regions of the Southern backcountry where, before the advent of steamboats, sugar was imported from New Orleans with difficulty. The presence of a sugar chest in a household signified its prosperity, and regional cabinetmakers modified a familiar English dining room form to store and display a prestigious commodity.
Reference: Mc Pherson, "...Sugar Chests in Middle Tennessee and Central Kentucky", Journal of Southern Decorative Arts, Winter 1997 and Hicks and Caldwell, "A Short History of the Tennessee Sugar Chest", Magazine Antiques, September 2003, frontice. See also Williams and Harsh, The Art and Mystery of Tennessee Furniture, pp. 73, 77, 89, and 138.

338. An American Classical Carved Mahogany Library Cabinet, early 19th c., Southern, molded cornice, narrow frieze, reeded paneled back flanked by glazed cabinet doors, interior shelves, the base with three drawers above four cupboard doors flanked by half-round turned reeded stiles blocked at the base, raised on beehive turned feet, height 90 in., width 76 in., depth 23 in. $6000/8000

339. An Important American Rococo Carved Rosewood Bedstead, c. 1850, New Orleans, the headboard with a flower urn crest on a reverse-serpentine molded headboard flanked by massive posts with turned finials, rope collars, serpentine rails, foot posts with finialed mosquito bars, circular plinth feet, height 75 1/2 in., interior length 84 1/2 in., exterior length 90 1/2 in., interior width 73 in., exterior width 79 in. $15000/25000
Note: The paneled headboard, crested by a flower filled urn, inclusion of mosquito bars in the foot posts, and shaped rails of this bed relate closely to the well-known rosewood bed from Prudent Mallard (Sevres/New Orleans 1809-1879) at Lansdowne in Natchez, Mississippi.
Though this lot shows variation in the carving, finials, and post forms from the Lansdowne prototype, the overall effect is clear: this bed was made as an impressive element for an important house. Notably, the urn crest on this bed is of a larger scale and retains more robust scrolls than that at Lansdowne.
Reference: The Lansdowne bed is illustrated in Otto, American Furniture of the 19th Century, pl. 289.

340. An Important American Rococo Carved Rosewood Armoire, mid-19th c., New Orleans, the foliate crest centered with a flower urn, lobed finials, arched cornice with beading, robust ripple molding around two massive mirrored doors opening to a fitted interior (possibly reconfigured), plinth drawer, disc feet, casters; en suite with preceding lot, height 121 in., width 67 in., depth 26 in. $15000/25000
Note: This remarkable armoire relates closely to several pieces of the important Mallard suite at Lansdowne. The flower filled urn on the crest of this armoire is similar to that on Lansdowne's half tester bed. The lobed finials, large beaded molding, ovolo corners on the cornice and plinth, scroll carved chamfered stiles, and turned feet are nearly identical to those on the rosewood armoire from the Lansdowne suite.
A rosewood armoire with crest, case, doors and stiles very similar to this example was sold in these rooms as lot 892 October 12, 2008. Interestingly, the armoire offered here features an emphasis on ripple molding typical on American furniture of this period.
Reference: Otto. American Furniture of the Nineteenth Century, figs. 289 and 292.

341. An American Federal Mahogany Games Table, early 19th c., attributed to Haines and Connelly, Philadelphia, fold-over serpentine top, reeded edge, shaped skirt, turned reeded tapered legs, height 29 in., width 36 in., depth 18 in. $1200/1800

342. An American Late Federal Wingback Chair, early 19th c., arched tall back, shaped wings, scrolled arms, trapezoidal seat on turned legs, height 47 in., width 28 in., depth 20 in. $800/1200

343. An American Southern Cherrywood Jelly Cupboard, c. 1830, with two projecting drawers over a pair of doors, scrolled stiles, molded base, scrolled legs, retaining original pressed glass knobs, height 46 1/2 in., width 45 in., depth 20 1/2 in. $500/750

344. An Antique Stained Pine Sugar Box, 19th c., hinged lid, divided interior with maple-handled steel cutter, brass weighing tray, height 8 in., width 14 1/4 in., depth 9 in. Note: Steel cutter marked "GW" above "S. Kilstun", brass tray with foreign marks. $300/500

345. A Rare Louisiana Federal Cherrywood and Cypress Armoire, c. 1785, molded cornice, paneled doors with fiche hinges, pierced brass escutcheons, interior with belt of drawers with two secret drawers, retains old paper baptismal certificate in door, height 88 in., width 50 in., depth 21 in. $25000/35000
Provenance: From an Opelousas collection. Interestingly an inside door panel has a partial baptismal certificate of Cesaire Carruthers, and other family documents. Messr. Carruthers mother was from the early St. Landry Parish Nereaux family.
Note: An Acadian armoire with similar door panels is illustrated in Poesch, Early Furniture of Louisiana 1750-1830, p. 9.

346. An American Gothic Faux Bois Bookcase, c. 1830, ogee molded cornice, a pair of arched glazed doors on blocked molded base, rosewood-grained paint decoration, five shelves, found in estate condition, height 90 in., width 46 in., depth 14 in. $1500/2500

347. An American Late Federal Painted and Stenciled Child's Chair, early 19th c., turned crest rail, chamfered stiles, wide fruit stenciled splat, rush seat, turned splayed legs, stretchers, gilt pinstriping overall, height 22 in., width 12 1/2 in., depth 9 1/2 in. $600/900
Provenance: Descended in the family of Captain Joseph Hatch, Kennebunk, Maine, a frequent visitor to New Orleans and captain of Delos, the ship that took John James Audubon to England.

348. A Small American Classical Cherrywood Corner Cupboard, mid-19th c., probably Southern, scalloped crest, wide paneled frieze, a pair of glazed doors at the sides with half-round turned colonnettes, the base with conforming doors, tapered full columns, blocked base, on bulbous turned feet, height 78 in., width 40 in., depth 29 in. $1000/1500

349. An Acadian Cypress Storage Chest, late 18th c., thick plank top with wrought iron strap hinges, dovetailed boards overall, retaining original hinges and lock, height 12 1/2 in., width 29 in., depth 13 1/2 in. $1000/1500

350. A Louisiana Classical Walnut Armoire, mid-19th c., associated stepped cornice, plain frieze, paneled doors, interior with shelves, molded base, turned feet, height 84 in., width 61 in., depth 26 in. $3000/5000
Provenance: From a Charenton, Louisiana Collection.

351. A Pair of American Blown and Etched Glass Hurricane Shades, mid-19th c., grape-cluster and vine-leaf decoration, flat polished rims, height 12 in., diameter 5 1/4 in. $1200/1800

352. Two Large American Clear Blown Glass Hurricane Shades, 2nd qtr. 19th c., nearly identical but for difference in fold-over foot, pronounced baluster shape, height 23 in., width 8 1/2 in. $1200/1800

353. An American Blown Green Glass Hurricane Shade, 19th c., with folded foot rim, height 21 in., diameter 8 1/4 in. $600/900

354. An American Cast Iron Bell, cast with date "1860" and "A. Major & Brother" foundry, complete with yoke and clapper, height 14 in., diameter 23 in. $2500/3500

355. Four American Carved and Red-Wash Painted Poplar Riverboat Architectural Columns, mid-19th c., each blocked at the base, fluted and ring turned standards, retaining original deep red stain and gilt paint, height 94 in. $1000/1500

356. A Cast Iron Model of a Ship's Signal Cannon, probably 19th c., mounted on oak carriage with working wheels, height 13 in., length 28 in., width 14 in. $400/600

357. An American Classical Carved Mahogany and Églomisé Mirror, 19th c., blocked cornice and frieze with concentric bosses, baluster-turned and leaf-carved half-round pilasters, fitted with an antique stenciled reverse painted panel of a bowl of fruit, height 37 1/2 in., width 19 1/2 in. $1000/1500

358. An American Late Classical Carved Walnut Campeche Chair, mid-19th c., floral carved crest, shaped back and seat, scrolled arms, X-form molded legs connected by turned stretchers, height 41 in., width 21 in., depth 23 in. $800/1200

359. An American Late Federal Mahogany Chest of Drawers in the Sheraton Taste, c. 1800-1825, Philadelphia, banded top above four graduated drawers, reeded stiles, turned legs with button feet, height 40 in., width 43 in., depth 20 1/2 in. $1500/2000

360. An American Federal Cherrywood Sugar Chest, c. 1800, Southern, hinged lid opening to four compartments, associated pine stand composed of antique elements, square tapered legs, height 30 1/2 in., width 18 1/2 in., depth 18 1/4 in. $1200/1800

361. Ellsworth Woodward (American/New Orleans, 1861-1939), "Lafitte's Blacksmith Shop, Bourbon Street, Vieux Carré", watercolor, pencil-signed lower left, sight 8 in. x 9 1/2 in., attractively framed. $2000/3000

362. Van Hood Ferguson (American/Florida, 1908-1988), "Florida Farm on a Lake with a Cubist Sky", watercolor on paper, signed and dated "4-8-37" lower right, sight 15 in. x 21 3/4 in., attractively framed. $2000/3000

363. George Frederick Castleden (American/New Orleans, 1861-1945), "Beauregard House at Chalmette Battlefield", oil on canvas, signed and dated "34" lower left, 35 3/4 in. x 54 1/2 in., framed. $12000/18000
Provenance: Commissioned by D.H. Holmes Department Store, Canal Street, New Orleans, c. 1935-36; to private collector.
Note: Built in 1830, the stately and majestic Beauregard House sits on the banks of the Mississippi River. It is named after Judge René Beauregard, the last private owner and son of the Confederate General Pierre Gustave Toutant Beauregard. The Beauregard House was built adjacent to the site of the 1815 Battle of New Orleans. Today the battlefield, Beauregard House and U.S. Civil War Cemetery make up the Chalmette Battlefield, a federal park located in St. Bernard Parish.
The British-born artist George F. Castleden lived and worked in New Orleans during the first half of the twentieth century. An active member of the artistic community that had gathered in the French Quarter, Castleden was a member of the Arts and Crafts Club and Art League of New Orleans and was an ardent preservationist of the old quarter. The historic architecture and evocative tropical bayous of Southern Louisiana became favorite subjects of the artist. In 1936, Castleden left New Orleans and moved to Charleston, South Carolina.
Between 1934 and 1936, Frank Evans, then owner of D.H. Holmes Department Store on Canal Street, commissioned Castleden to create a series of paintings to be displayed in the store. Seven murals shaped to fit the transoms and niches of the D.H. Holmes' Potpourri Restaurant are now in the collection of the Louisiana State Museum.
Reference: Bacot, H. Parrott, "Louisiana Art From the Roger Houston Ogden Collection", Anglo-American Art Museum and Hill Memorial Library, Louisiana State University, Baton Rouge, 1992.

364. George Frederick Castleden (American/New Orleans, 1861-1945), "Pines of St. Tammany", oil on canvas, signed and dated "35" lower left, titled en verso, 18 in. x 22 in., in a period gilt frame. $8000/12000
Provenance: Commissioned by D.H. Holmes Department Store, Canal Street, New Orleans, c. 1935-36; to a private collector.

365. George Frederick Castleden (American/New Orleans, 1861-1945), "Swamp Trapper's Cabin", oil on canvas, signed and dated "35" lower left, title and Farish Art Store stamps en verso, 22 in. x 18 in., in a period gilt frame. $6000/8000
Provenance: Commissioned by D.H. Holmes Department Store, Canal Street, New Orleans, c. 1935-36; to a private collector.

366. George Frederick Castleden (American/New Orleans, 1861-1945), "Yesterday", oil on canvas, signed and dated "36" lower left, titled en verso, 18 in. x 22 in., in a period gilt frame. $6000/8000
Provenance: Commissioned by D.H. Holmes Department Store, Canal Street, New Orleans, c. 1935-36; to a private collector.

367. Dan Wingren (American, b. 1923), "Beach at Morning", oil on canvas, signed and dated "1960" lower right, signed, titled and dated "1960" en verso, Long & Company, Houston Galleries partial label and Babcock Galleries, New York stamp and label en verso, 20 in. x 30 in., attractively framed. $2000/2500

368. George Louis Viavant (American/New Orleans, 1872-1925), "Ducks in Flight over the Louisiana Marsh", watercolor on paper, signed lower right, Holmes Art Gallery, D.H. Holmes Department Store, New Orleans label en verso, sight 9 1/4 in. x 21 1/2 in., in a period frame. $6000/9000

369. Clarence Millet (American/Louisiana, 1897-1959), "Antique Store: Royal Street at Pirate's Alley, Vieux Carré", oil on canvas board, signed lower left, Albemarle Canvas Panel, The Morilla Company, New York stamp en verso, 8 in. x 10 in., in a gilt frame. $8000/12000

370. Knute Heldner (Swedish/New Orleans, 1877-1952), "Winter Landscape", oil on canvas, unsigned, inscribed en verso, translated from the original Swedish "Knute Heldner. Born 1875. Swedish Artist. Have among others been exhibited at gallery Gummesson in Stockholm", 20 in. x 23 1/2 in., in a giltwood frame. $2000/3000

371. Elizabeth O'Neill Verner (American/Charleston, 1883-1979), "St. Philip's Portico, Charleston", etching on paper, titled, signed and numbered "69/80" in graphite lower left and right, 15 3/4 in. x 13 1/4 in., matted and framed. $1200/1800

372. Marie Atkinson Hull (American/Mississippi, 1890-1980), "Spanish Street Scene", watercolor and graphite on paper, signed lower right, Art Supply Headquarters, Jackson label en verso, 13 3/4 in. x 10 3/4 in., attractively matted and framed. $2000/4000

373. Louis Oscar Griffith (American/Chicago, 1875-1956, active New Orleans 1916-17), "The Milk Cart", color aquatint print on paper, signed lower right and numbered "67/100" lower left, with "Omega Frame Shop, San Antonio, Texas" label en verso, sight 12 3/4 in. x 10 3/4 in., attractively matted and framed. $1000/1500

374. A Fine and Rare Shearwater Art Pottery Table Lamp, c. 1930, inscribed "Mac" for Mac Anderson, bearing the rectangular Shearwater stamp and early registration mark, the vessel hand carved with fish in bas relief with an antique green glaze, height 10 1/2 in., diameter 9 in. $20000/30000
Note: A similar vessel appears on the cover of Stewart, Dod. Shearwater Pottery. Slidell, Louisiana: Bristol Publishing, 2005.

375. A Newcomb College Art Pottery High Glaze Tall Vase, 1901, decorated by Emilie De Hoa LeBlanc with flower cross section, blue and green underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. E16 and "U" for white clay body, height 13 3/4 in. $7000/10000

376. A Newcomb College Art Pottery High Glaze Vase, 1902, decorated by Emma Urquhart with swamp lilies, blue and green underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. R98 and "Q" for buff clay body, height 5 in. $6000/8000

377. A Newcomb College Art Pottery High Glaze Tyg, 1901, decorated by Harriet Joor with blue flowers, blue and green underglaze base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. F85 and "U" for white clay body, height 7 in. $7000/10000

378. A George Ohr Humorous Teacup in the Form of a Chamber Pot, applied design to interior, base marked "G.E. Ohr, Biloxi, Miss", height 2 1/4 in., width 4 in. $1200/1800

379. A George Ohr Pottery Vase, squat body with wide mouth, dimpled sides, base marked "G.E. Ohr, Biloxi, Miss", height 3 in., width 4 1/4 in. $1500/2000

380. A Shearwater Art Pottery Pitcher, c. 1930-1940, alkaline blue glaze, probably by Peter Anderson, small ink printed circular mark and remnants of paper label, height 5 1/2 in. $400/600

381. Eugene Delcroix (American/New Orleans, 1891-1967), A collection of five vintage photographs including "Lights and Shadows, Royal St.", "Interior Patio, Royal St.", "Old Brulatour Patio", and two of "The Spanish Court", silver gelatin prints, all pencil-signed lower right and titled lower left, 6 1/4 in. x 4 1/4 in., in matching frames. $1200/1800

382. Eugene Delcroix (American/New Orleans, 1891-1967), two vintage photographs including "Cathedral Foggy Morning", silver gelatin print, pencil-signed and titled, sight 8 1/4 in. x 6 1/4 in. and "Old Labatut Patio", hand-colored photograph, pencil-signed and titled, sight 8 in. x 6 in.; accompanied by Eugene F. Loving (American/New Orleans, 1908-1971), "Sunlight and Shadow, Old New Orleans", etching, pencil-signed and titled, edition of 200, sight 8 in. x 5 3/4 in., all attractively framed, (3 pcs.) $600/900

383. Clarence Millet (American/New Orleans, 1897-1959), a pair of woodblock prints on paper, including "Old Arts and Crafts", and "Pirates Alley", signed lower right and titled lower left, both signed in the plate lower right, both 7 in. x 6 in., matted and framed alike. $1000/1500

384. Louis Oscar Griffith (American, 1875-1956, active New Orleans 1916-1917), "Patio Royale, Vieux Carré", colored aquatint, signed lower right, numbered "38" lower left, "The H. Lieber Company, Indianapolis" label en verso, sight 10 1/4 in. x 12 1/4 in., attractively matted and framed. $1000/1500

385. Louis Oscar Griffith (American, 1875-1956, active New Orleans, 1916-1917), "Begue's Restaurant, Decatur Street, Vieux Carré", colored aquatint, signed lower right, numbered "74" lower left, "The H. Lieber Company, Indianapolis" label en verso, sight 10 1/4 in. x 12 1/4 in., attractively matted and framed. $1000/1500

386. Ellis Wilson (American/Kentucky, 1899-1977), "Colonnade, Promenade," c. 1952, oil on masonite, signed lower left, signed, titled, and inscribed en verso, 24 1/2 in. x 37 1/2 in., framed. $10000/20000
Provenance: Gift of the artist to a friend, New York City.
Note: In 1952, Ellis Wilson won Miami's Terry Art Institute Award, which allowed him to visit Haiti; this profoundly changed his painting career. While maintaining the subject matter of African-Americans at work, his Haitian paintings became more stylized and less detailed. This is particularly noticeable in the facial features, which, while shadowy and vague in Wilson's earlier works, become almost nonexistent in his Haitian scenes and later works. "Colonnade, Promenade" is a scene of a lively Haitian market that includes various figures at work, including street vendors in the background, and people carrying produce and other items on top of their heads in the foreground. While stylizing the forms of the painting and adding touches of color and palm trees that give it an exotic atmosphere, Wilson still captures the dignity of a hard day's work and manages to elevate these simple figures to an iconic level, much as he had done in his earlier paintings from the United States.

387. William Woodward (American/New Orleans, 1859-1939), "The Woodward Home at 433 Baronne Street," oil on wood panel, signed and dated "1889" lower left, inscribed "Baronne St. Home, where Eleanor Woodward was born in 1889" en verso, 9 1/4 in. x 13 1/2 in., framed. $20000/30000
Provenance: Collection of Eleanor Woodward Mosely, to the current owner
Note: When William Woodward moved to New Orleans to accept a professorship at Tulane University, he lived at 433 Baronne Street (which, after the change of the numbering system in 1895, would be 1217 Baronne Street, which no longer exists), where his daughter, Eleanor, was born in 1889. This first home of the Woodwards' was within walking distance of the locations of many of Woodward's early paintings, including the "Poydras Market" at Baronne Street, which sold in these rooms. The painting shown here illustrates William Woodward's characteristic feathery brushstrokes and interplay of light and shadow which combine to create an interesting and unique composition.

387A. Louise Amelia Giesen Woodward, Mrs. William Woodward (American/Louisiana, 1862-1937), "Louisiana Bayou", watercolor, signed lower left, sight 8 1/2 in. x 6 3/4 in., attractively matted and framed. $700/900

388. Marie Atkinson Hull (American/Mississippi, 1890-1980), "Abstracted Landscape", watercolor, signed lower right; Nebletts Frame Outlet, Vicksburg, Mississippi label en verso, sight 21 1/2 in. x 14 in., attractively matted and framed. $1200/1800

389. Marie Atkinson Hull (American/Mississippi, 1890-1980), "Abstracted Landscape", watercolor; The Attic Gallery, Vicksburg, Mississippi label en verso, signed lower left, sight 21 3/4 in. x 12 1/2 in., attractively matted and framed. $1200/1800

390. Ellis Wilson (American/Kentucky, 1899-1977), "Cooling Cylinders, Cooling", oil on plywood, before 1943, signed lower right and left, 16 in. x 20 in., unframed. $15000/25000
Provenance: Gift of the artist to James Ligon, New York City to current owner. Painting listed in Albert Sperath catalogue raisonne The Art of Ellis Wilson, University of Kentucky Press, 2000, p.74.
Note: Ellis Wilson chose not to depict images of the racial inequalities of America in the 1940s, and instead painted images of African Americans in a constructive and positive light. The painting "Cooling Cylinders, Cooling" was part on a New Jersey defense plant in production as part of the war effort of World War II. The shirtless worker was shown with his back to the viewer as he works on the production line. The strength of the New Jersey Plant series earned Wilson the prestigious Guggenheim Fellowship in 1944, which was renewed again the next year. The fellowship gave the artist the freedom, funding and time to travel home to Kentucky and the South, where he devoted all his time to painting.
Reference: Sperath, Albert F., The Art of Ellis Wilson, exhibition catalogue, The University Press of Kentucky, 2000.

391. Ellsworth Woodward (American/New Orleans, 1861-1939), "Still Life of Apples and Oriental Statue", oil on canvas, signed lower right, 16 in. x 20 in. $2000/3000

392. F. Padron (Cuban, 19th/20th c.), "Cuban Tobacco Plantation", oil on canvas, signed and dated "1902" lower left, stamp en verso, 13 in. x 16 in., in a period gilt frame. $2000/3000

393. Sister Gertrude Morgan (American/New Orleans, 1900-1980), "Revelation to Missionary Morgan, God said I Triumphed Gloriously, Exod. 15:1", mixed media on paper, unsigned, titled along bottom, 18 in. x 23 3/4 in. $10000/15000
Provenance: E. Larry Borenstein, New Orleans.

394. Clementine Hunter (American/Louisiana, 1886-1988), "Juke Joint", oil on board, monogrammed lower right, 15 3/4 in. x 23 3/4 in., matted and framed. $4000/6000

395. David Alfaro Siqueiros (Mexican, 1898-1974), "Self-Portrait", study for the 1945 mural "El Coronelazo" now in the Museo Nacional de Arte in Mexico City, charcoal on paper, signed and dated "1944" lower right, 24 in. x 36 in., framed. $12000/18000
Note: Of the three undisputed leaders of the Mexican Social Realist Mural Movement, Diego Rivera, José Clemente Orozco, and David Siqueiros, it was Siqueiros who was the most politically involved and radical. A dedicated Marxist/Leninist his entire life, he strove to combine his strongly held political views with his art in a manner that would be approachable and understandable. Though partially trained in Paris (where he first met Rivera), Siqueiros had a somewhat dismissive view of the academic art world. As he wrote in a 1922 leaflet detailing the aims of the emerging Mexican mural artists: "We repudiate so called easel painting and every kind of art favored by the ultra-intellectual circles, because it is aristocratic and we praise monumental art in all its forms, because it is public property." The present lot is a preparatory drawing for the mural "El Coronelazo," a self-portrait from 1945 located at the Museo Nacional de Arte in Mexico City. It was created after he returned from his forced exile and eventual imprisonment for his role in the attempted assassination of Leon Trotsky (who had sought refuge in Mexico). In this work, the strong lines, the figural contortion, and the overall exaggeration create a sense of immediacy and urgency; Siqueiros wanted the viewer to experience a raw, emotional reaction to the portrait. It has often been said of the artist that his politics got in the way of his art; Siqueiros himself believed there would have been no art without his politics.
Reference: Stein. Siqueiros – His Life and Works. Int. Pub. New York. 1994

396. Marie Atkinson Hull (American/Mississippi, 1890-1980), "Cabin (pencil preparatory sketch en verso)", pencil and watercolor on paper, signed lower left, 6 in. x 9 in., attractively matted and framed. $800/1200

397. Arthur Burdette Frost (American, 1851-1928), "Self-Portrait of the Artist, (preliminary sketch en verso)", ink and graphite on paper, signed and inscribed "From Frost-Daggy" lower right, sight 6 in. x 5 in., attractively matted and framed. $1000/1500
Provenance: Estate of Richard S. Daggy. Like Frost, Richard S. Daggy (1892-1973) was a talented artist and illustrator.

398. An American Modern Gothic Carved Walnut Sideboard, c. 1875, attributed to Daniel Pabst, Philadelphia, the superstructure having a cove-molded floral-carved paneled crest flanked by finialed spindled quarter round shelves, beveled mirror plate with shelf, the base with three geometrically carved drawers, stylized and geometrically carved cupboard doors flanked by baluster columns on molded blocked base, height 100 in., width 89 in., depth 20 1/2 in. $8000/12000
Note: The drawer pulls on this sideboard are identical to those on a cabinet attributed to Daniel Pabst conserved by the Hudson River Valley Museum in Yonkers, New York. The columnar supports on the upper case and the stiles on the lower case on this lot are closely related to those on the walnut sideboard by Pabst at the Art Institute of Chicago. Reference: http://www.artic.edu.aic/collections/artwork184672

399. A Rare American Aesthetic Bronze-Mounted Cherrywood Center Table, late 19th c., the inset Breccia marble top with wide banded edge above a carved skirt with drawer on one side and open paneled sides, raised on four turned and incised supports connected to a paneled plinth, cove molded and carved base, on stylized animal paw feet, the whole with pierced bronze mounts and strapwork, height 30 1/2 in., width 45 in., depth 31 in. Note: marble repaired. $2500/3500