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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 301-400

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301. Black Forest Carved and Mirrored Hallstand, late 19th c., tree‑form standard with a bear cub, beveled mirror plate, large lower base, umbrella holder, naturalistic base, h. 82 in., w. 30 in., d. 25 in. $4000/6000

302. Black Forest Carved Umbrella Stand, late 19th c., figural bear standard, lower umbrella tray, naturalistic base, h. 45 in., w. 16 in., d. 17 5/8 in. $4000/6000

303. Important Wooton Ebonized, Carved and Burled Walnut Standard Grade Secretary Cabinet Desk, c. 1874, labeled "Wooton Desk Manf. Co., Indianapolis", "Queen Anne" pattern, superstructure with spindled gallery, carved frieze, doors opening to a fall front writing surface, and upright files, doors fitted with cartonnier boxes to one side and open shelves on opposite side, shoe feet, casters, h. 69 in., w. 42 in., d. 28 1/4 in. $7000/10000
Note: Beginning in 1874, Indianapolis cabinetmaker William Wooten began manufacturing these innovative desks with civil servants in mind. However, bankers, lawyers, and captains of industry soon found them indispensable. Boasting 110 compartments, they came in four grades: ordinary, standard, extra, and superior. Used by dignitaries such as Smithsonian Director Spencer Baird, philanthropist Joseph Pulitzer, and railroad magnate Jay Gould, many established 19th century furniture dealers praised the desks, including London dealers Richards Terry and Co., who noted, "Nothing in its line can exceed it in usefulness or beauty, and purchasers everywhere express themselves delighted with its manifold conveniences."
Ref.: Talbott, Walters, Cooper, Wooten Patent Desks: A Place for Everything and Everything in Its Place. Indiana State Museum: 1983, pp. 33-35, 71; Dubrow, Eileen and Richard. American Furniture of the 19th Century. Schiffer: Pennsylvania, 1983, pp. 186-197; Walters, "The King of Desks: Wooton's Patent Secretary," Smithsonian Studies in History and Technology; Indiana State Museum, Wooten Patent Desks, 1983.

304. Rare American Rococo Highly Carved Rosewood Dressing Table, mid‑19th c., New York, possibly Alexander Roux, arched crest, fruit and flower cartouche flanked by putti, mythological bird supports, shield shaped mirror centered by a cabochon, serpentine carrara marble top, conforming drawer, C scrolled fruit carved cabriole legs connected by a foliate and floral stretcher, h. 85 in., w. 53 1/2 in., d. 21 7/8 in. $15000/25000
Note: The stunning and exuberantly carved dressing table offered as lot 304 shares many similar aspects with an etagere in the collection of the Metropolitan Museum of Art in New York, including the overall form, exaggerated crest, the carving hand of the winding foliate scrolls, and the shape and proportions of the scrolled feet. Among the New York Rococo-revival cabinetmakers, Roux was most known for often incorporating mythological, animal, and human figures in his elaborate pieces. The mythological birds flanking the mirror on the dressing table here relate to a Roux sideboard in the Metropolitan Museum of Art, which features similar elements. The present lot also relates to another Roux sideboard held in the Brooklyn Museum, also featuring many naturalistic elements.
Ref.: Brooklyn Museum. Decorative Arts. Accessed October 18, 2017; Metropolitan Museum of Art. Accessed October 18, 2017; Metropolitan Museum of Art. "Heilbrunn Timeline of Art History." Accessed October 18, 2017.

305. American Late Federal Santo Domingo or Cuban Carved Mahogany Breakfast Table, c. 1810, attr. to Duncan Phyfe, New York, highly figured drop leaf top, one frieze drawer, pendant drops, reeded vasiform support, reeded outswept legs, paw feet, casters. $2000/3000
Ref.: Kenny, Peter M. Duncan Phyfe: Master Cabinetmaker in New York. The Metropolitan Museum of Art: New York, 2011, pp. 170‑171.

306. American Hepplewhite Three‑Part Mahogany Dining Table, late 18th/early 19th c., D ends, one with swing legs, drop leaf, swing leg center section, plain frieze, square tapered legs, h. 29 in., l. 98 1/2 in., w. 52 3/4 in. $3000/5000
Provenance: The Green Bottle, Houston, TX.

307. Six American Federal Cherrywood Side Chairs, late 18th c., New England, with 2 matching benchmade mahogany armchairs, arched crests, pierced vasiform splats, serpentine seats upholstered in blue leather with brass nailhead trim, square tapered legs, H stretchers, armchair h. 40 in., w. 21 1/2 in., d. 18 1/4 in.; side chair h. 40 in., w. 21 1/2 in., d. 18 1/4 in. (8 pcs.) $3000/5000
Provenance: Side chairs: Didier, Inc., New Orleans, LA; armchairs: David Pruitt, Natchez, MS.

308. American Federal Carved and Inlaid Mahogany Sideboard, early 19th c., shaped top, frieze drawer, two side compartments with faux drawers, one with cabinet door, other with a bin drawer, arched apron, turned and reeded legs, h. 36 1/4 in., w. 73 1/2 in., d. 23 1/4 in. $3000/5000
Provenance: Didier, Inc., New Orleans, LA.

309. American Classical Carved Mahogany Pier Table, c. 1840, attr. to J. & J.W. Meeks, New York, serpentine marble top, conforming frieze, canted scrolled supports, Gothic paneled pilasters, mirrored back, shaped plinth, scrolled feet, h. 36 in., w. 40 1/4 in., d. 19 1/2 in. $1500/2000
Note: This table is directly related to a Meeks table sold in these rooms on June 27, 2015, as lot 314.

310. American Federal Birdseye Maple Chest of Drawers, early 19th c., four graduated drawers, turned legs, ball feet, h. 39 in., w. 41 7/8 in., d. 21 in. $800/1200

311. West Indies Carved Tropical Hardwood Armoire, 19th c., Trinidad, molded cornice, fluted stiles, paneled doors, shelf interior with two fitted drawers, molded base, turned feet, h. 77 in., w. 56 3/4 in., d. 23 1/2 in. Note: Cornice. $1500/2500
Provenance: The Sturm Collection.

312. Louisiana Carved Cherrywood Tester Bed, early 19th c., bulbous turned finialed posts, cove molded cornice, rolling pin headboard, low foot board, conforming rails, turned legs, h. 103 1/2 in., l. 81 in., w. 57 1/2 in. Note: Lacks brass ball feet. $2500/3500
Note: The bed offered here is nearly identical to a bed from Bocage Plantation in Ascension Parish, featuring the same ring turnings on the posts and a shaped and paneled headboard surmounted by a similar rolling pin. The Bocage example was sold by Neal Auction Company in an onsite auction at Bocage Plantation on October 8, 2007, as lot 129. The overall form is typical of Creole Louisiana beds from the Federal period and is related to beds found at Parlange Plantation, the Jacques Dupre house in Opelousas, and two beds from Houmas House in Ascension Parish.
Ref.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835. The Historic New Orleans Collection: 2010, pp. 384-385.

313. American Federal Carved Mahogany Pembroke Table, late 18th/early 19th c., top with shaped drop leaves, frieze drawer, reeded tapered legs, h. 28 1/2 in., w. (closed) 35 in., w. (open) 42 1/2 in., d. 22 1/2 in. $500/800
Provenance: Estate of Stephen G. Henry, Baton Rouge, LA.

314. American Federal Mahogany Work Table, c. 1790, possibly Southern, square top, two frieze drawers, square legs, h. 28 1/2 in., w. 19 1/2 in., d 17 1/4 in. $500/700

315. American Federal Carved Mahogany Campeche Chair, early 19th c., possibly Mid‑Atlantic, paneled crest rail, canted stiles, padded scrolled arms, sling seat, curule legs, stretchers, h. 41 1/2 in., w. 28 in., d. 32 in. $1500/2500
Note: The form of the Campeche chair here is close to examples from the Mid-Atlantic region, such as those found at Thomas Jefferson's residence at Monticello. Featuring turned supports and a classical-style straight crest rail, the chair is also comparable to a Washington D.C. example owned by William Worthington. White pine secondary wood in the present lot supports a likely Eastern U.S. origin.
Ref.: Ehrenpreis, Diane C. "The Seat of State: Thomas Jefferson and the Campeche Chair." Accessed October 18, 2017; Priddy, Sumpter III. et. al. "The One Mrs. Trist Would Chuse: Thomas Jefferson, the Trist Family, and the Monticello Campeachy Chair." Accessed October 18, 2017.

316. American Federal Inlaid Cherrywood Chest of Drawers, late 18th c., Southern, molded top, four drawers, original oval brasses, shaped base and sides, flared "French" feet, h. 38 in., w. 39 in., d. 20 in. $700/1000

317. American Classical Walnut Bergere, early 19th c., paneled crest, arms carved with eagle heads, rounded seat rail, reeded legs, casters, h. 37 in., w. 26 1/2 in., d. 28 in. $700/1000

318. American Classical Carved Mahogany Sarcophagus‑Form Cellarette, early 19th c., beveled hinged lid, fitted four bottle interior, shaped sides, cove‑molded base, acanthus‑carved paw feet, traces of gilt and ebonization on feet, h. 26 in., w. 20 1/2 in., d. 20 1/2 in. $1000/1500

319. American Sheraton Carved Mahogany Plantation Desk, early 19th c., molded cornice, arched scalloped paneled fall front, baize writing surface and fitted cubbyholes, kneehole base with two drawers, turned tapered legs, h. 62 in., w. 36 3/4 in., d. 24 in. $800/1200

320. Pair of American Classical Carved Mahogany Armchairs, c. 1815, Philadelphia, tablet crest, molded stiles and arms, slat with spherules, trapezoidal slip seat, saber legs, h. 33 1/4 in., w. 21 in., d. 19 1/2 in. $1000/1500

321. American Classical Carved and Inlaid Mahogany Sofa Table, 19th c., in the manner of Duncan Phyfe, New York, shaped drop‑leaf top, frieze drawer, lyre supports, pierced stretcher, reeded sabre legs, brass paw feet, casters, h. 29 in., w. 39 3/4 in., d. 24 1/4 in. $1000/1500

322. Antique Anglo‑Colonial Brass‑Bound Tropical Hardwood Campaign Chest, 19th c., dovetailed case with seven drawers, molded base, turned feet, h. 36 1/2 in., w. 39 1/2 in., d. 17 in. $600/900

323. Rare Spanish Colonial Iron Mounted, Carved and Painted Wood "Baúl" Strong Box, 18th/19th c., paneled cover and sides carved with scrolling, leafy foliage, iron strapwork with bosses, central strap with painted monogram "FHP", bale handles, retains iron lockplate with key, h. 7 3/4 in., w. 18 in., d. 17 in. $500/1000

324. Four Vargas Family Wax Figures, 20th c., "Fishmonger", "Woman Wearing Tignon", "Female Cotton Picker", and "Male Cotton Picker", one stamped "Genuine Vargas, New Orleans, LA" and one with "Kate Latter's Candies, New Orleans" label en verso, original bases, each h. 7 in. $1000/1500

325. Pair of American Gothic Cast Iron Andirons, c. 1865, marked "Savery & Co., Philadelphia", later red paint, h. 20 in., w. 9 1/2 in., d. 17 1/2 in. Note: Repairs. $500/800

326. Pair of Georgian Sheffield Plate Warming Stands, c. 1800, each with removable liner with gadrooned border, gadrooned lower body, acanthus scroll handles and feet, underside of liner and stand interior retain original tinned surface, associated burner, h. 3 3/4 in., w. 12 1/4 in. $400/600

327. English Silverplate Epergne in the Regency Taste, Israel Freeman & Son, London, founded 1928, with Anglo‑Irish cut glass bowls, h. 11 3/4 in., w. 24 in. $300/500

328. Late Georgian Sheffield Plate Hot Water Urn, 19th c., interior of cover marked "LONDON", spigot marked "PATENT", lobed mushroom finial, reeded cover and border, urn‑shaped body, scroll handles, shaped plinth, compressed ball feet, h. 14 1/2 in., w. 14 3/8 in. $300/500

329. Rare Acadian Cypress Table a Treteau, late 18th/early 19th c., Louisiana, two board plank top, trestle base with splayed legs, stretchers, h. 31 1/2 in., w. 72 in., d. 40 1/2 in. $4000/6000
Provenance: Thibodeaux Cormier residence, Breaux Bridge, St. Martin Parish, LA.
Ill.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835. The Historic New Orleans Collection: 2010, p. 265.
Note: The early Acadian trestle or "treteau" table was modeled after the common 18th century French work table, as evident from illustrations in Denis Diderot's Encyclopedie. The table offered here was found in the Thibodeaux Cormier residence in Breaux Bridge, Louisiana. Practical in use with lightweight legs, the trestle table could be easily moved for various tasks. Intact examples, such as this table, are very rare.
Ref.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835. The Historic New Orleans Collection: 2010, p. 264-265.

330. Louisiana Federal Walnut Washstand, early 19th c., shaped splash rail, plain frieze, stretcher shelf drawer, turned vasiform uprights and legs, h. 33 1/2 in., w. 24 1/2 in., d. 17 in. $1000/1500

331. West Indies Carved Tropical Hardwood Armoire, early 19th c., cove molded cornice, plain frieze, two paneled doors, fluted stiles, molded base, turned legs, h. 75 1/2 in., w. 53 3/4 in., d. 24 in. $4000/6000
Note: West Indies furniture, such as the armoire in the lot offered here, was commonly found in Louisiana during the 18th and 19th centuries due to steady immigration and trade between Louisiana and the Caribbean, which continued well after Louisiana became part of U.S. territory after the Louisiana Purchase in 1803.

332. Acadian Carved and Painted Cypress Table, early 19th c., Louisiana, mortised plank top, plain frieze, bulbous turned legs, stretchers, mortised and pegged construction, h. 28 in., w. 4. $2000/3000
Ill.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835. The Historic New Orleans Collection: 2010, p. 252.
Note: The cypress table here was found in Avoyelles Parish, Louisiana. The form of the table is an example of the continuous influence of classic French styles from the 17th and 18th centuries on Acadian furniture. This table is clearly Louis XIII in style but dates to the earlier part of the 19th century, evident by the table's construction.
After the Acadians arrived in Louisiana in the 18th century, they remained in relative geographic isolation, which fostered the continuation of classic French forms in Acadian furniture.
Ref.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835. The Historic New Orleans Collection: 2010, p. 252.

333. Acadian Ash Ladderback Armchair, early 19th c., ball finials, tapered uprights, three arched slats, turned arms, egg shaped arm support, tapered legs, double stretchers, h. 34 in., w. 19 1/2 in., d. 15 in. $1000/1500
Ill.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835. The Historic New Orleans Collection: 2010, p. 314.

334. American Federal String Inlaid Mahogany Sofa in the Sheraton Taste, c. 1790‑1800, Massachusetts, arched back, scrolled arms, reeded uprights, upholstered rail, turned legs, brass cuffs, casters, h. 37 in., w. 79 in., d. 30 in. $1000/1500
Provenance: Family of George Nickson Black; Benjamin Ginsburg Antiquary, Madison Ave., New York, 1978; Estate of Stephen G. Henry, Baton Rouge, LA.
Exh.: Museum of Fine Arts, Boston, 1929.

335. Chippendale Carved Mahogany Side Chair, 18th c., possibly American, volute carved crest rail, vasiform splat, trapezoidal slip seat rail, cabriole legs, pad feet, h. 37 1/2 in., w. 23 1/4 in., d. 23 in. $250/350

336. Spanish Colonial Tooled Leather "Baul en Madera" Chest, probably late 17th/early 18th c., domed lid with scalloped molding and wrought iron strapwork, h. 15 1/2 in., w. 38 3/4 in., d. 19 3/4 in., later wood stand, overall h. 25 1/4 in. $1200/1800
Ref.: Similar 17th/18th c. Spanish colonial chests are illustrated in: Phipps, E. et. al. The Colonial Andes: Tapestries and Silverwork, 1530-1830. The Metropolitan Museum of Art, 2004; Rishel, J.J. & S. Stratton-Pruitt. The Arts in Latin America: 1492-1820. Yale University Press, 2006.

337. Spanish Colonial Tooled Leather "Baul en Madera" Chest, probably late 17th/early 18th c., domed lid with scalloped molding and wrought iron strapwork, h. 17 1/2 in., w. 45 in., d. 22 in., later rosette‑carved wood stand, overall h. 26 1/4 in. $800/1200
Ref.: Similar 17th/18th c. Spanish colonial chests are illustrated in: Phipps, E. et. al. The Colonial Andes: Tapestries and Silverwork, 1530-1830. The Metropolitan Museum of Art, 2004; Rishel, J.J. & S. Stratton-Pruitt. The Arts in Latin America: 1492-1820. Yale University Press, 2006.

338. Louisiana Mahogany Armoire in the Federal Taste, early 19th c., cove molded cornice, plain frieze, flush paneled doors, fitted interior, molded base, reeded legs, brass ball feet, h. 84 1/4 in., w. 56 in., d. 21 5/8 in. $3000/5000
Provenance: Made by Pierre Barre, St. John the Baptist (now Edgard), LA; descended in his family to Del Guidry; thence to present owner.
Note: A related armoire from the Stromeyer Collection at Chene Vert is illustrated Furnishing Louisiana, p. 139.

339. Eight American Classical Paint‑Decorated "Fancy" Chairs, early 19th c., probably New York, each with tablet crest centering a beehive, reticulated slats, rush seat, reeded legs, stretcher, button feet. $1200/1800

340. Robert Malcolm Rucker (American/Louisiana, 1932‑2001), "Steamboat on the Mississippi", oil on canvas, signed lower left, 24 in. x 30 in., framed. $2000/3000

341. Meyer Straus (American/New Orleans, 1831‑1905), "Landscape with Cypress and Palmetto" and "Landscape with Stream", 1904, 2 watercolors on paper, each signed and dated lower right, "Smart & Wilton, S.F." labels en verso, each 11 in. x 6 in., framed alike. (2 pcs.). $1000/1500

342. Edith M. Sansum (American/Louisiana, 1867‑1934, act. New Orleans, 1884‑1901), "Acadian Cabin", oil on canvas board, signed lower right, "W.E. Seebold, Bookseller, Stationer and Fine Art Dealer, N.O." label en verso, 8 1/2 in. x 11 1/2 in., period frame. $1000/1500
Provenance: Jay P. Altmayer Family Collection, Mobile, AL.
Note: Edith Sansum's family moved to New Orleans shortly after her birth. Her parents, who were originally from Barbados, had seven children and lived in the Uptown area, where Edith's father, Oliver Baker Sansum, practiced law. From the age of sixteen, Sansum began studying art, excelling in both sketching and oil painting, for which she was awarded medals from the Black and White Club and the Artists' Association of New Orleans. Studying with noted New Orleans artists such as Helen Maria Turner and Julia Massey, Sansum eventually became an art instructor, teaching private lessons from her parents' home. After the year 1901, Sansum seems to have abruptly abandoned her art career, turning to clerical work. However, her lovely still life paintings and landscapes, such as the current lot depicting a cabin in rural Louisiana, attest to Sansum's artistic talents.

343. William Henry Buck (Norwegian/Louisiana, 1840‑1888), "Louisiana Pastoral with Wooden Bridge", 1883, oil on canvas, signed and dated lower left, 18 in. x 30 in., period frame. $125000/175000
Provenance: Acquired from the artist by Mr. and Mrs. Aristide Hopkins, New Orleans and Biloxi; thence by descent in the family.
Note: Aristide Hopkins (1839-1925) and his wife, Mary McNeil Hopkins (1847-1908), were avid collectors and patrons of the arts. As close friends of William Aiken Walker, the couple was introduced to a variety of portrait, landscape, and genre scene painters, and their house on Esplanade Avenue (now the Fisk-Hopkins-Schwartz Home at 730 Esplanade) was filled with works by Louisiana artists such as William Henry Buck, Richard Clague, George Louis Viavant, and Achille Perelli.
Aristide Hopkins worked at Merchants' Mutual Insurance Company on Canal Street; he was an agent for Baroness Pontalba and managed properties within the city. During the Civil War, Hopkins served as a Lieutenant in the Louisiana Cavalry (New Orleans Light Horse) and after the war, he and Mrs. Hopkins maintained homes in both New Orleans and Biloxi.
Collected by the Hopkins' amongst other important landscapes and nature mortes, the lovely scene in the current lot displays Buck's characteristic skill with Louisiana flora and fauna, including majestic oak, pine, and cypress trees laden with Spanish moss. A student of Clague, Buck developed his skills on plein air sketching excursions with his mentor and artists such as Andres Molinary and Marshall Joseph Smith, Jr. These trips, many along the shores of Lake Pontchartrain, were undoubtedly influential on the development of Buck's use of lighting effects and evocative atmosphere. The arrangement of the landscape offered here, on the edge of a lake with a curving wooden bridge, is a rare example of an asymmetrical configuration that beautifully guides the viewer's eye around the canvas.
The composition, with the inclusion of a picket fence on the left, a farmer and his dog crossing the bridge, and cattle grazing in the background, suggests a farm just beyond the trees and hints at a bucolic narrative. The reflective surface of the water adds an additional element of light and highlights the natural bend in the geography. The painting also includes hints of the Barbizon tradition in the luminous sky, and the loose brushwork that forms the reeds and bushes in the foreground, combining overall into a classic naturalistic view of the Louisiana landscape dating from the height of Buck's career.
Ref.: Trovaioli, August P. and Roulhac B. Toledano. William Aiken Walker: Southern Genre Painter. Baton Rouge: Louisiana State University Press, 1972.

344. Richard Clague (French/New Orleans, 1816‑1878), "Bay Jaune (Fishing Camp on Pilings)", oil on canvas, signed lower left, 16 1/4 in. x 24 1/4 in., period frame. $80000/120000
Provenance: Acquired from the artist by Mr. and Mrs. Aristide Hopkins, New Orleans and Biloxi; thence by descent in the family.
Note: The delicately placed fishing camp over water that Richard Clague chose to depict in the work offered here is a rare, intriguing composition that remains today enduring and timeless. The low horizon and expanse of sky direct the eye to the structure of the camp, and the viewer is drawn to the red brick chimney in the center of the painting. The attention to detail in the barrel and small figure on the porch of the camp are characteristic of the artist's best work and are contrasted against the vastness of the landscape surrounding them.
Clague must have visited the camp several times to sketch and paint the scene; a study of this exact view can be found in one of his sketchbooks now in the collection of the New Orleans Museum of Art. As on many of Clague's drawings, he jotted down the location of the scene, and his notation "Jaune" on the study for this painting reveals the fishing camp was situated on Bay Jaune. Bay Jaune is located just off Lake Pontchartrain near the present city of Slidell, which was not founded until 1882 and would have been a small, rural community during Clague's time. Aristide Hopkins, who acquired this painting from Clague, owned homes in both New Orleans and Biloxi and was known for inviting artists to both locations; Bay Jaune is directly en route between the two cities.
Ref.: Toledano, Roulhac. Richard Clague: 1821-1873. New Orleans: New Orleans Museum of Art, 1974.

345. Louis Oscar Griffith (American/Indiana, 1875‑1956, act. New Orleans, 1916‑1917), "Charcoal Boats, Old Basin Canal, New Orleans", oil on canvas board, signed twice lower left, 15 in. x 17 1/2 in., framed with artist and title plaque. $6000/8000

346. Louis Oscar Griffith (American/Indiana, 1875‑1956, act. New Orleans, 1916‑1917), "Clearing", oil on canvas board, signed lower left, 10 in. x 13 in., framed with brass artist and title plaque. $500/800

347. Clarence Millet (American/Louisiana, 1897‑1959), "Louisiana Marsh", oil on canvas, signed lower right, signed, titled and inscribed on artist label and "First Prize South Louisiana State Fair, 1955" label en verso, 29 in. x 20 in., framed. $10000/15000

348. Robert Hopkin (American, 1832‑1909), "The Old Basin, New Orleans", 1883, watercolor on paper laid on canvas, signed and dated lower right, signed, titled and inscribed "from sketch made / March 17th / 1883" en verso, 18 in. x 20 in., framed. $2500/3500

349. William Aiken Walker (American/South Carolina, 1838‑1921), "Cabin Scene", oil on board, signed lower left, pencil‑inscribed and partial "F.W. Devoe & Co., New York" label en verso, 9 1/2 in. x 12 1/4 in., framed. $10000/15000
Note: To be included in John Fowler's forthcoming catalogue raisonne on William Aiken Walker.

350. William Aiken Walker (American/South Carolina, 1838‑1921), "Female Cotton Picker", oil on board, signed lower right, pencil‑inscribed en verso, 8 in. x 4 1/8 in., framed. $5000/8000
Note: To be included in John Fowler's forthcoming catalogue raisonne on William Aiken Walker.

351. Clementine Hunter (American/Louisiana, 1886‑1988), "Gift of the Magi", oil on board, monogrammed lower right, 14 in. x 16 in., framed. $3000/5000

352. Clementine Hunter (American/Louisiana, 1886‑1988), "Christmas Tree", 1970, oil on board, monogrammed and dated lower right, inscribed "Mrs. Glynn" en verso, 24 in. x 16 in., framed. $3000/5000

353. George Louis Viavant (American/New Orleans, 1872‑1925), "Nature Morte: Snipe", 1920, watercolor on paper, signed and dated lower left, "Taylor Clark Fine Prints, Paintings and Framing, Baton Rouge" label en verso, sight 22 1/4 in. x 13 1/2 in., framed. $8000/12000

354. French Iron Strapwork Bound Bahut, late 18th c., found in Louisiana, open interior, trapezoidal sides, carrying handles, trace paint remaining, h. 17 in., w. 40 in., d. 20 in. $1000/1500
Ref.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835. The Historic New Orleans Collection: 2010, p. 218.

355. Interesting Lot of Three Louisiana Mixed Wood Slat Back Side Chairs, mid‑19th c., each with finialed uprights, three shaped slats, trapezoidal seats, double stretchers, h. 34 in. to 32 in., w. 17 in. to 16 1/2 in., d. 14 1/2 in. to 13 in. $500/800

356. Canadian Mixed Woods Cradle, 18th c., turned uprights, paneled sides, shaped rockers, h. 26 in., w. 37 in., d. 27 in.; together with indigo dyed linen fabric. $400/600
Provenance: Found in Baton Rouge, LA.

357. West Indies Carved Mahogany Poster Bed, 19th c., Jamaica, palm‑carved arched headboard, ring and spiral‑turned posts, plain rails, bulbous‑turned feet, h. 86 in., l. 80 in., w. 59 in. $2500/3500
Note: The bed offered here is a classic West Indies form. The shaped palm and foliate headboard and spiral-turned posts are distinctive elements common on beds found in Guadeloupe, Martinique, and other French Caribbean islands.
Ref.: Connors, Michael. Caribbean Elegance. Abrams: New York, 2002, pp. 140-142.

358. West Indies Carved Mahogany Campeche Chair, c. 1820‑1840, possibly Martinique or Barbados, stallion's head crest, gadrooned crest rail and legs, turned arms, carved seat rail, leather upholstery, brass nailhead trim, h. 40 1/4 in., w. 22 3/8 in., d. 24 1/2 in. $1500/2500
Note: The Campeche chair offered here shows a clear English Regency influence, which was a prominent style throughout the Caribbean during the first half of the 19th century. The chair's distinctive rope-carved finials and curule-form legs are indicative of English taste.

359. American Colonial Silver Coffee Pot, attr. to Richard Pitts, Charleston, c. 1750, marked "RP" in rectangle and (later mark) "STERLING" in rectangle, engraved crest, baluster form with acorn finial, scroll spout, carved fruitwood scroll handle and molded foot, engraved monogram "P/W+C", h. 10 1/8 in., wt. 25.60 troy ozs. $30000/50000
Note: Richard Pitts is documented as a silversmith in Philadelphia from 1741 to 1745 using a mark of "RP" in an oval. By 1746, he is documented in Charleston using a mark of "R*P" in a rectangle. A Richard Pitts rice spoon marked "R*P" in a rectangle is in the collection of the Charleston Museum. Two related Charleston coffee pots by silversmith Alexander Petrie are illustrated in Palmetto Silver, p. 8, and South Carolina Silversmiths, p. 149. For other similar Pre-Revolutionary examples see American Silver 1655-1825 in the Museum of Fine Arts, Boston, p. 308, for one by John Coburn (1725-1803), and American Silver: Garvan and Other Collections in the Yale University Art Gallery, p. 233, for an example by Samuel Minott of Boston.
Ref. Hollan, Catherine. Philadelphia Silversmiths, p. 160; and Burton, E. Milby. South Carolina Silversmiths 1690-1860, pp. 151-152.

360. Alice Ravenel Huger Smith (American/South Carolina, 1876‑1958), "Herons in Flight", watercolor on board, signed lower right, "Whatman's Water Color Boards" printed en verso, 16 3/4 in. x 21 3/4 in., framed. $20000/30000
Provenance: Acquired from the artist, Charleston, SC, c. 1936; descended in the family.
Note: One of the main figures of the Charleston Renaissance, Alice Ravenel Huger Smith is best known for her scenic depictions of Charleston and her captivating views of poetic marshes such as the work offered here. The vast expanses of surrounding waterways, swamps and vegetation were an endless source of inspiration. Smith painted almost exclusively in watercolor from 1924 onward, finding the medium most advantageous to achieving the atmospheric effects she sought in her landscapes. In this work, Smith captures the mystical aura of the South Carolina Lowcountry through her particularly vibrant use of color to represent the foliage and water, accented by the white of the graceful, long-limbed birds taking flight.
Ref.: Severens, Martha R. The Charleston Renaissance. Spartanburg, SC: Saraland Press, 1998; "Smith, Alice 1876-1958." The Johnson Collection. Accessed Oct. 12, 2017.

361. Elizabeth O'Neill Verner (American/South Carolina, 1883‑1979), "Charleston Flower Seller", pastel on silk, signed lower left, sight 15 1/2 in. x 11 3/4 in., framed. $10000/15000

362. Charles Giroux (French, 1828‑1885, act. New Orleans, 1868‑1885), "Lake Pontchartrain", oil on canvas, signed lower right, 6 1/2 in. x 11 3/4 in., framed. $15000/25000
Provenance: Carol Bowsky, New Orleans, 1962; Jay P. Altmayer Family Collection, Mobile, AL.
Note: A charming example of Giroux's distinctive landscapes, this depiction of Lake Pontchartrain exemplifies the artist's skillful brushwork and adept use of color. The scene along the shore exhibits moss-laden trees and a small cabin with figures. The luminous skyline is beautifully painted, while the inclusion of cypress knees extending from the water adds an element of texture to the water's surface.

363. John Wesley Jarvis (British, 1781‑1840, act. New Orleans, 1821‑1834), "Portrait of Samuel Chambers Bell (b. 1805), husband of Eulalie Longer (b. 1811), New Orleans", oil on canvas, unsigned, artist stamp en verso (now obscured), 30 in. x 25 in., antique frame. $3000/5000
Provenance: Descended in the family of the sitter.
Note: At about the age of five, the precocious John Wesley Jarvis was brought from his native Northumberland to Philadelphia, where he worked with the engraver Edward Savage (1761-1817). In 1801, at the age of twenty, Jarvis moved with Savage to New York. After a brief partnership with the painter Joseph Wood (c. 1778-1830) and a sojourn in Baltimore from 1810 to 1813, for the next two decades, Jarvis became the foremost portrait painter in New York. Jarvis and fellow artist Henry Inman (1801-1846) spent the winters of 1820-21 and 1821-22 in New Orleans, when they were frequently visited by John James Audubon (1785-1851); Jarvis continued those visits alone in 1828-29, 1829-30, and 1833-34. At the beginning of the last visit in New Orleans, Jarvis suffered a stroke—he had a notoriously undisciplined lifestyle—and returned to New York, where he died on January 12, 1840. Jarvis's much-praised naturalism, objectivity, and liveliness are beautifully exemplified in this striking portrait.
The sitter, Samuel Bell, is remembered for the very fact of his marriage: his wife of 1828 was one of the immensely famous and widely celebrated eight Longer sisters of New Orleans—her sister, Odile, married Edgar Degas's (1834-1917) uncle, Michel Musson. Odile's and Michel's daughter, Mathilde Musson, married the nephew of this present sitter, William A. Bell, who sat as a model in Degas's "Portraits in a Cotton Office, New Orleans" of 1873.
Ref.: Driscoll, John and Jane Turner, ed. "Jarvis." Grove Dictionary of Art. London: Oxford University Press, 1996, vol. 17, p. 450; Mahe, John A. and Rosanne McCaffrey, eds. Encyclopedia of New Orleans Artists 1718-1918. New Orleans: The Historic New Orleans Collection, 1987, pp. 201-202; Feigenbaum, Gail, et al. Degas and New Orleans. New Orleans: New Orleans Museum of Art, 1999, pp. 222-235 and 275-288.

364. Jean‑Joseph Vaudechamp (French, 1790‑1866, act. New Orleans, 1831‑1839), "Portrait of a Louisiana Gentleman, possibly a member of the Delacroix family", 1832, oil on canvas, signed and dated upper right, pencil‑inscribed "Madame De la Croix", handwritten label and inscription "M. Lefevre‑Foinet" en verso, 32 in. x 25 1/2 in., period frame. $8000/10000
Note: Likely one of Vaudechamp's earliest New Orleans canvases, the current lot portrays a dashing young man in fashionable attire. Known for painting many members of the wealthy and important families of New Orleans, Vaudechamp often went to his clients' homes in the city or their plantation properties to have family members sit for his portraits. The background in the current lot, with its low horizon, greenery, and stormy sky, is extremely similar to the portrait of William Charles Cole Claiborne II, painted in 1831.
The Lefebvre-Foinet shop in Montparnasse was known as the premier supplier of artists' materials in Paris. Begun in 1880 by Paul Foinet, and joined later by his son-in-law, Lucien Lefebvre, the two men and their descendants operated the business for over one hundred years and amassed a great collection of art over that time period.

365. Important Louisiana Inlaid Mahogany Armoire, early 19th c., inlaid flared cornice and cartouche frieze, paneled doors centered by an inlaid Federal eagle, shelf interior with a medial belt of drawers, turned legs, brass ball feet, h. 85 in., w. 57 in., d. 23 in. $40000/50000
Provenance: The Charbonnet Family of New Orleans.
Ill.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735‑1835. The Historic New Orleans Collection: 2010, pp. 42 (inlay), 191.
Note: The Creole inlaid armoire in this lot descended in the Charbonnet family of New Orleans. In the sophisticated Federal style, the armoire features string inlay, brass ball feet, beautifully figured mahogany, and a central pictorial inlay portraying the Federal eagle.
Eagles featured on American Federal furniture were likely inspired by the Great Seal of America, adopted in 1782. Louisiana gained statehood in 1812 and Creole armoires in the Federal style commonly featured the inlaid Federal eagle, possibly in recognition of Louisiana's newly minted admission into the United States.
Ref.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835. The Historic New Orleans Collection: 2010, pp. 39, 191.

366. American Classical Brass‑Mounted Carved Mahogany Sideboard, early 19th c., New York, likely Charles Lannier, pineapple finialed and brass galleried top, three drawers above four cabinet doors flanked by engaged stop fluted columns, sides with serving boards, blocked, reeded molding above carved tapered blocked legs, brass cuffs, casters, h. 56 1/4 in., w. 76 3/4 in., d. 25 1/2 in. $2000/3000
Provenance: Collection of John Milton Colton (b. 1849), Philadelphia, PA; thence by descent.

367. Rare American Classical Bronze‑Mounted Mahogany Pier Table in the French Taste, early 19th c., Boston, marble top, mounted frieze, columnar supports, mirrored back flanked by pilasters, turned tapered feet, h. 37 1/4 in., w. 39 in., d. 15 1/8 in. $2500/3500

368. Attributed to Jeremiah Theus (American/South Carolina, 1716‑1774), "Portrait of a Young Girl Holding a Bouquet of Flowers", oil on canvas, unsigned, 29 in. x 24 in., period frame. $15000/25000
Provenance: Family Estate Collection, Moultrie, Colquitt County, GA, reputed to have been acquired from a nearby plantation, c. 1970s.
Note: Jeremiah Theus, the self-proclaimed "Limner of Charles Town," created portraits, landscapes, and coats-of-arms from circa 1740, when he first advertised in the South Carolina Gazette, until his death in 1774. Known primarily as a portraitist, he painted the most prominent families across the Province of South Carolina. Theus, who was born in Switzerland, immigrated with his family to South Carolina in 1735; very little is known of his schooling, although his technique has been compared to the school of Franz Lippoldt (1688-1768) and to the contemporary painter, Elias Gottlob Haussman (1695-1774).
The current lot exhibits many elements of Theus' early style of painting, including the waist-length pose, the upright positioning of the figure, the soft brushwork of the face, and the accessories. Theus is known to have based many of the figural poses and clothing in his paintings on English mezzotints; therefore, many of his sitters have similar dresses or poses. For example, in Theus' portraits of Sarah Parker Lowndes, Elizabeth Allston Lynch, and Susannah Holmes, all three ladies wear a dress based on a 1752 mezzotint of Elizabeth, Duchess of Hamilton, although Theus did make alterations to personalize each portrait. Similarly, the young lady in the current lot stands in the exact pose and an extremely similar dress to Theus' portrait of Catherine Elliot. The Elliot family were generous patrons of Theus, having large portraits of Mr. and Mrs. Barnard Elliot painted, along with smaller portraits of their son and daughters. The girls' faces, particularly Catherine's, are similar in features to the girl in the current lot, conjecturing if perhaps our sitter is a sister or cousin in the Elliot family.
Ref.: Middleton, Margaret Simons. Jeremiah Theus: Colonial Artist of Charles Town. Columbia: University of South Carolina Press, 1953; Severens, Martha. "Jeremiah Theus of Charleston." Southern Quarterly. Vol. 24 (1985-86): 56-70.

369. Jose Francisco Xavier de Salazar y Mendoza (Mexican/New Orleans, c. 1750‑1802), "Don Antonio Mendez (1750‑1829)", oil on canvas, unsigned, black painted inscription identifying sitter as "Antonio Mendez" and handwritten pencil inscription "....Don Antonio Mendez, Mort le 5, Dbre 1829, natif de la Havane" on stretcher bars, ink inscription regarding restoration by Gregor's Beaux Arts, Hartford, CT in May 1945 en verso of relining canvas, 40 1/4 in. x 31 in., antique frame. $100000/150000
Provenance: By descent in the family of the sitter.
Note: The sugar trade has long been an important element of the Louisiana economy, from the introduction of sugar cane to the New Orleans area in the 1750s to today, when Louisiana is presently the second largest sugar producer in the country. For both the culinary and economic benefits of the cane sugar business, much recognition and gratitude is indebted to Antonio Mendez, the first to successfully create granulated sugar in colonial America. Although Etienne de Bore is well known for his large-scale production and commercialization of granulated sugar, the efforts of Mendez, as well as Josef Solis and Antoine Morin, are often overlooked in the history of cane sugar.
Sugar cane, which is indigenous to Asia, was first brought to the New World by either the Spanish or the Portuguese in the late 1400s, and the first harvest occurred in 1501 on the island of Hispaniola (now Haiti and the Dominican Republic). Over the next two centuries, the crop was successfully planted throughout the Caribbean islands and South America, and in 1751, Jesuit priests visiting Hispaniola brought samples back to Louisiana and planted them.
In 1759, Joseph Dubreuil built a sugar mill and attempted to granulate sugar without success; by the 1780s, cane was widely planted for chewing and for producing "taffia," a rum-like liquor widely imbibed by the citizens of Louisiana. It was thought that the growing season in Louisiana was too short and cold to produce adequate crops for granulation. However, Josef Solis, who had come from Saint-Domingue, planted Otaheite, a more common and heartier variety of sugar cane. Antonio Mendez, whose Magnolia Plantation in Terre aux Boeufs (now St. Bernard Parish) was adjacent to Solis', eventually bought much of Solis' lands and sugar crops, and hired Antoine Morin, a Haitian sugar maker who had fled Saint-Domingue during the revolution, to attempt to produce granulated sugar.
The account of their success in finally granulating sugar is given by J.B. Avequin, who wrote in the Louisiana Sentinelle de Thibodeaux, "He made but a few small barrels of sugar, and it is certain that he experimented also in refining them, for in 1792, Mendez presented to Don Rendon, who was then Intendant of Louisiana for Spain, some small loaves of sugar refined by him. It required one of these little loaves to sweeten two cups of coffee."
In 1794, Etienne de Bore, seeing the destruction of the Louisiana indigo crops due to an insect infestation, decided to invest in sugar cane and bought a large quantity from Mendez and Solis. He planted these crops on his plantation on the Mississippi River (now the location of Audubon Park), and hired Morin to help produce the sugar. From this crop, he created sugar in large enough quantities to earn $12,000 and convinced more plantation owners to invest in sugar cane. De Bore's success certainly bolstered the sugar industry in Louisiana, however, Mendez and Morin's experiments in sugar refining were undisputedly seminal.
Don Antonio Mendez arrived in New Orleans in the 1780s upon accepting the position of Procurer de Roi (Attorney General) for the Spanish Colonial government of Louisiana. He quickly purchased land grants and built a home known as Magnolia Plantation in the early 1790s; several notarial acts of 1794 and 1795 mention this particular structure. Later in his career, Mendez became a clerk at the Cabildo and was appointed parish judge of St. Bernard Parish by Governor William C. C. Claiborne.
Mendez married Felicite Ducret on March 25, 1790 in St. Louis Cathedral, officiated by Father Antonio de Sedella (known to the New Orleans community as Pere Antoine). The couple had six children, two of whom were depicted with their parents in a family portrait, also by Salazar, sold in these rooms, December 4, 2004. In the individual likeness of Mendez offered here, Salazar uses the half-length format within a painted oval similar to his portraits of other notable figures such as Major General James Wilkinson, Daniel William Coxe and Colonel Thomas Butler, Jr.
Although history books have sometimes overlooked the contributions of Mendez, Morin, and Solis in favor of the story of Etienne de Bore, the Mendez family always sought to correct that impression. Don Antonio Mendez' daughter, Magdalena Theresa Mendez Landier, told her daughter until her dying day: "Dire que c'est mon pere qui a fait le premier sucre en Louisiane." (Tell everyone that it was my father who made the first sugar in Louisiana).
Ref.: Abbott, Elizabeth. Sugar: A Bittersweet History. London: Penguin House, 2008. American Sugar Cane League. A Story of Louisiana Cane Sugar. New Orleans, 1939. Buman, Nathan. "Two Histories, One Future" (PhD diss., Louisiana State University, 2013). Butler, W.E. Down Among the Sugar Cane. Baton Rouge: Moran Publishing Company, 1980. Hyland, William de Marigny. Tour of Historic St. Bernard Parish. St. Bernard, LA: Los Islenos Museum, 2012. Mims, Sam. Trail to a Pot of Gold. Homer, Louisiana: The Guardian-Journal, 1967. Rightor, Henry, ed. Standard History of New Orleans, Louisiana. Chicago: The Lewis Publishing Company, 1900. Stubbs, William C. Sugar Cane. Baton Rouge: Louisiana State University Press, 1900. Taggart, W.G. and E.C. Simon. A Brief Discussion of the History of Sugar Cane. Baton Rouge: Louisiana State Department of Agriculture and Immigration, 1938.

370. Spanish Colonial School, mid‑17th/19th c., "Our Lady of Victory", oil on canvas, unsigned, 37 in. x 27 1/4 in., unframed. $1000/1500

371. Spanish Colonial School, mid‑17th/19th c., "Saint Thomas", oil on canvas, unsigned, titled lower left, 33 1/2 in. x 42 1/4 in., framed. $800/1200

372. John James Audubon (American, 1785‑1851), "Flamingo", chromolithograph, from The Birds of America, Bien edition, sheet 37 1/4 in. x 25 3/4 in. $7000/10000

373. Charles F. Zimpel (Prussian/American, 1801‑1879), "Topographical Map of New Orleans and its Vicinity, Embracing a distance of twelve miles up and eight and three quarter miles down the Mississippi River and Part of Lake Pontchartrain, representing all Public Improvements existing and projected and important Establishments, accompanied by A Statistical Table, containing the most accurate Illustrations; prefaced by A Splendid View of New Orleans, & Compiled from actual surveys and the best authorities, by Chas. F. Ximpel, Deputy City Surveyor of New Orleans, Chief Engineer of the New Orleans & Carrollton Rail Road Company and late Engineer in the Prussian Service, Scale six inches to the mile, New Orleans March 1834", lithograph, on six sheets, original folio, vignettes showing: Orleans Cotton Press Co., City Hotel, Levee Steam Cotton Press, City Hall (Cabildo), St. Louis Cathedral, Presbytere, Bank of the Canal and Banking Co., City House and Market of the City of Lafayette, Bank of New Orleans, Union Bank, American Theater, Sugar Refinery, Charity Hospital, State House, "Defeat of the British Army...", "Plan of the Banks of the Mississippi and Adjacent Country...", and "Mouth of the Mississippi at the South West Pass", six sheets (combined) 63 in. x 64 in. $40000/60000
Note: Zimpel, Charles F. (Karl Frederick Zimpel) and the subject map are best summarized in Ellen Merrill's Germans of Louisiana. Pelican Publishing Company, Inc. 2005:"Zimpel was a young Prussian aristocrat who soon established a lucrative career in the city as a surveyor, engineer, and architect. His tastes were mainly classical, in keeping with the style in vogue in both Europe and America. He was highly successful in those areas in which he was trained and, for a short time, became deputy surveyor and chief engineer for the city. In 1833 he laid out and developed the City of Carrollton. Perhaps his most important achievement was the detailed map of New Orleans he produced in 1834. Dissatisfied with the quality produced by the lithographers in New Orleans, he sent his original drawing back to Germany. On the return trip the lithographic stone and reproductions were lost at sea, making the Zimpel map a collector's item. As chief engineer of the New Orleans and Carrollton Railway, which ran from Canal Street to Carrollton Avenue along Nayades Street (now St. Charles Avenue), he got involved in land speculation. Having little experience in this area, he soon fell into debt and fled the city. After only seven years of working in New Orleans, he returned to his native Prussia."
Zimpel also designed and oversaw construction of several important buildings in New Orleans during his tenure here, three of which are shown in vignettes above his map: the Bank of New Orleans, City Hotel, and the Orleans Cotton Press.
Only six copies of the Zimpel map have been located, five of which are housed in institutional collections.

374. Laval, Antoine Jean, Voyage de la Louisiane, fait par ordre du roy en l'annee mil Sept cent vingt: Dans lequel sont traitees diverses matieres de Physique, Astronomie, Geographie & Marine..., Paris: Chez Jean Mariette, 1728, octavo, 9 3/4 in. x 7 1/2 in., full calf, bound by Sangorski & Sutcliffe, London, with over 30 maps, charts and plates, many fold‑out, incl. maps of the coast of Louisiana, voyage from France to the Mississippi, Pensacola, Martinique, Cartagena, Cuba and charts of weather and navigational readings. $7000/9000
Note: The two primary maps in this volume, "Carte de la Coste de la Louisiane" and "Plan de Pensacola" were of paramount importance in the development of Gulf Coast cartography. Based on manuscript surveys, they are am were among the first published maps of the areas they show.

375. [Mitchell's Universal Atlas], A New Universal Atlas Containing Maps of the Various Empires, Kingdoms, States and Republics of the World. With a Special Map of Each of the United States, Plans of Cities..., Philadelphia, Thomas, Cowperthwait & Co., 1852, folio (17 in. x 14 in.), with 73 hand‑colored lithographic maps, and a chart showing rivers and mountains of the world, half red morocco, marbled boards, with gilt leather title on upper cover. $2500/3500

376. [New Orleans Exposition Map], "The World's Industrial and Cotton Centennial Exposition, New Orleans, LA...Plan No. 2 Map of the City of New Orleans showing the location of exposition grounds and all approaches thereto by land & water", 1884, Southern Litho. Co., New Orleans, with 13 insets or vignettes, 27 in. x 36 7/8 in. $1000/1500

377. After Maria Adrien Persac (American/Louisiana, 1823‑1873), "Plantations on the Mississippi River from Natchez to New Orleans, 1858", copyright 1931, Pelican Book Shop, Inc., printed by Rand McNally & Company, showing the divisions of land with owners' names, vignettes of New Orleans, Baton Rouge and plantations, decorated border composed of cotton plans and sugar cane, 52 in. x 30 1/2 in., mounted to board, framed. $1000/1500

378. Probst, Johann Michael, "Nova Mappa Geographica Americae Septentrionalis", Augsberg, 1782, hand‑colored, based on the Le Rouge edition of Henry Popple's key map of 1733, insets show New York, Boston, St. Augustine, Havana, Charles Town, Bermuda, Providence, Santiago, Kingston, Port Royal‑Martinique, Barbados, Antigua, Cartagena, Porto Bello and others, issued the year before official recognition of the English colonies as the United States, 20 in. x 19 1/4 in. $2000/3000

379. D'Anville, Jean Baptiste Bourguignon, "Carte de la Louisiane", Paris, 1732/1752, hand‑colored, detailed map with earliest occurrence of "Le Baton Rouge", large inset map details "Partie Superieure de la Louisiane", tracking the area surrounding the Mississippi River, 20 1/2 in. x 36 1/2 in. $1000/1500

380. Bellin, Jacques Nicolas, "Karte von Luisiana, dem Laufe des Mississipi und den benachbarten Laendern...", Leipzig, 1744/1758, hand‑colored, German text edition by Bellin of De L'Isles's famous southeast map covering most of the eastern half of North America from the Great Lakes to the Gulf of Mexico; European colonies and possessions along the Atlantic and Gulf coasts are depicted along with Indian lands, 15 1/2 in. x 22 1/4 in. $700/1000

381. [Gulf of Mexico and Caribbean Map], "Indiarum Occidentalium Tractus Littorales cum Insulis Caribicis/ Pascaert van Westindien ende Caribise Eylanden", Amsterdam, 1745, hand‑colored engraved map by Reiner and Joshua Ottens, after the 1680 issue by Frederick de Wit, two cartouches, Latin and Dutch, one showing cannibalism, 19 in. x 22 1/4 in. $2000/2500

382. Santini, P. / Remondini, M., "Partie Meridionale de la Louisiane, avec la Floride, la Caroline et la Virginie", Venice, 1776/1784, second state, hand‑colored, from the Atlas Universel, 19 in. x 22 1/4 in. $700/1000

383. Covens and Mortier, "L'Amerique Septentrionale", Amsterdam, 1720, hand‑colored, based on Sanson's 1674 example, 22 5/8 in. x 34 1/2 in. $800/1200

384. Miniature Portrait of Dr. Octavius Undecimus Trezevant (1810‑1866) of Charleston, SC and New Orleans, LA, mid‑19th c., watercolor and gouache, sight 4 1/2 in. x 3 1/2 in., case 6 in. x 5 in.; accompanied by 2 letters from Edith Booth dated September 1934 and August 1937 to "Madame" with a Hailsham Sussex address. $3000/5000
Note: One of thirteen children, Octavius Trezevant was born in Scotland to Peter and Elizabeth Willoughby Trezevant in 1810. He married Maria Dorothea D'Argain y Belgrano, a Spanish woman born in Buenos Aires, in London in 1841. The couple had seven children by 1855; between 1855 and 1860 the family moved, along with at least two of Octavius' brothers, to the United States. While his brothers settled in South Carolina, Octavius and his family moved to New Orleans, where they remained for the rest of their lives. Octavius had become a physician while in Scotland and continued practicing in New Orleans until his death in 1865.
The Daily Constitutionalist of Augusta, GA, reported Dr. Trezevant's death on November 4, 1865. A fatal knife wound was the cause of his death, and a full account of the incident is reported in James G. Hollandsworth, Jr.'s book, An Absolute Massacre: The New Orleans Race Riots of July 30, 1866.
In the two letters that accompany this painting, Edith Booth references the Trezevant miniatures, which she acquired through the Estate of Theodore Matthias' eldest son, Charles Edward. In both letters, she discusses the shipping arrangements to send to the miniatures to the United States.
Ref.: Trezevant, John Timothee. The Trezevant Family in the United States. Colombia, SC: The State Company, 1914. United States 1860 Federal Census.

385. Louisiana School, mid‑19th c., "Encarnación de Leon y Collantes (1815‑1839)" and her son "Jean Manuel Oriol (1833‑1889)", 1839, 2 portrait miniatures, unsigned, pencil inscribed "Retratado en Sept de 1839 a la edad de seis anos, complido el 4 del mismo mes (Portrayed in Sept 1839 at the age of six years on the 4th of the same month)" en verso of former, each 3 1/2 in. x 2 3/4 in., matching period frames; together with rose gold gimmel ring engraved "F. Oriol, de Leon y Collantes, 11/Mai/1832" and yellow gold gimmel ring engraved "D.C. Lanaux, O.V. LaBranche, Le 4th/Oct/1846" and family. (4 pcs.) $1000/1500
Provenance: Descended in the family of the sitters.
Note: Jean Manuel Oriol, son of Francisco Oriol and Encarnación de Leon y Collantes, married Jeanne Marie Amanda Leprêtre in 1856. Their daughter, Sophie Marie Oriol, married Charles Delphin LaBranche, son of Onesiphore Victorin LaBranche and Caroline Delphine Lanaux, in 1890. The gimmel rings offered as part of this lot commemorate the marriages of Francisco Oriol and Encarnacion de Leon y Collantes and Onesiphore Victorin LaBranche and Caroline Delphine Lanaux. A gimmel ring is comprised of two interlocking pieces. Most popular in the 16th and 17th centuries, but still used even today, the two pieces can be worn separately by both members of the couple during the engagement period; once intertwined, the two pieces become one and serve as the wife's wedding ring after the marriage.

386. William Aiken Walker (American/South Carolina, 1838‑1921), "Deacon Jones, N.O., Whar am de Expersishon?", oil on artist board, signed lower left, titled lower edge, 2 "Louisiana State Museum" exhibition and "Eugene Okarma, Atlanta, Period Pictures and Distinctive Custom Framing" labels en verso, 8 in. x 4 in., framed. $8000/12000
Exh.: The World of William Aiken Walker, Louisiana State Museum, New Orleans, Dec. 1972‑Jan. 1973.
Note: To be included in John Fowler's forthcoming catalogue raisonne on William Aiken Walker.
Note: In 1884-85, William Aiken Walker painted several scenes such as the one offered here, with deacons, parsons, or other caricaturized African-American figures attempting to find the World's Industrial and Cotton Centennial Exposition. The 1884-85 Cotton Expo celebrated the earliest-surviving record of export of a shipment of cotton from the United States. The fair took place in New Orleans, the home to the Cotton Exchange, and included exhibits and artwork from around the country and the world. Walker painted many small genre scenes that he sold as souvenirs during the Exposition.

387. Charles Giroux (French, 1828‑1885, act. New Orleans, 1868‑1885), "Settlement along the Bayou", oil on wood panel, monogrammed lower left, handwritten inscription en verso of backing paper, 4 3/4 in. x 9 3/4 in., framed. $10000/15000
Provenance: Jay P. Altmayer Family Collection, Mobile, AL.
Note: The attention to detail in this jewel-like and beautifully painted scene reflects Giroux's skillful technique, exhibiting minute brushstrokes that create the small figures and architectural aspects of the houses. Giroux's work offered here is extremely similar to a larger painting in the Maxim Karolik collection at the Boston Museum of Fine Arts (acc. no. 47.1144) and includes the same road and tree along a river, although the scene is reversed. The addition of a steamboat along the horizon line is a lovely touch and gives the viewer an idea of what everyday life along a river would have been like in late 19th century Louisiana.

388. Alexander John Drysdale (American/New Orleans, 1870‑1934), "Live Oaks and Lily Pads, Louisiana Bayou", oil wash on board, signed lower left, sight 19 1/2 in. x 29 1/2 in., framed. $2000/3000

389. George Rodrigue (American/Louisiana, 1944‑2013), "Catahoula Lake Fisheries", 1976, oil on canvas, signed lower left, signed, titled, dated, "George Rodrigue Gallery, Lafayette, LA" and artist stamps en verso, 24 in. x 36 in., original frame with artist and title plaque. $20000/30000
Note: By the mid-1970s, George Rodrigue had gained a reputation for his scenes of Cajun folk-life, resulting in an expanded clientele and book opportunity with Oxmoor House, publisher of Southern Living Magazine in 1976. The large format book, The Cajuns of George Rodrigue, featured images of more than one hundred paintings with George's detailed descriptions in both English and French. These paintings followed in the footsteps of his first painting with figures, "Aioli Dinner" of 1971, now on view at the Ogden Museum of Southern Art. Each scene included the distinctive oaks of his first landscapes with the added inclusion of structures, figures and narrative elements.
In the 1976 canvas titled "Catahoula Lake Fisheries" offered here, a figure is seen in the doorway of a fishery, with a distant building behind, and pirogue prominently placed on the lake. Catahoula Lake, a duck hunting mecca, is located in Rapides and Lasalle parishes due north of Lafayette and is the largest freshwater lake in Louisiana, home to many camps and lodges. In Rodrigue's depiction, the high horizon line emphasizes the dark and foreboding feeling of the water which dominates the composition. While most likely completed following the publication of The Cajuns of George Rodrigue, this painting is among the best of this period and is a rare work by the artist as it includes a specific locale named within the scene.
Ref.: Rodrigue, Wendy. "Cajuns, The Book." Musings of an Artist's Wife. Jan. 14, 2013. Accessed Oct. 14, 2017.

390. Robert Malcolm Rucker (American/Louisiana, 1932‑2001), "Antique Store, French Quarter", oil on canvas, signed lower right, 20 in. x 16 in., framed. $1500/2500

391. Robert Malcolm Rucker (American/Louisiana, 1932‑2001), "Fruit and Vegetable Cart, French Quarter", oil on canvas, signed lower right, 20 in. x 16 in., framed. $1500/2500

392. Robert Malcolm Rucker (American/Louisiana, 1932‑2001), "Pirate's Alley, French Quarter", oil on canvas, signed lower right, 20 in. x 16 in., framed. $1500/2500

393. Lady Victoria Patricia Helena Ramsay (British, 1886‑1974), "Under‑Sea Study, Bermuda", oil on board, monogrammed "V.P.R." lower left, Goupil Gallery, London, May 1928 exhibition label en verso, 21 3/4 in. x 29 7/8 in, framed. $1500/2500

394. Marie Atkinson Hull (American/Mississippi, 1890‑1980), "Old Woman of Cordes (The French Woman)", oil on canvas, signed lower left, 30 in. x 25 in. framed. $6000/8000
Note: A version of this painting, dated 1929, is in the collection of the Mississippi Museum of Art in Jackson, and illustrated in Bright Fields: The Mastery of Marie Hull by Bruce Levingston, p. 141.

395. Continental Porcelain Plaque of a Young Beauty, late 19th., reverse with label "Exhibit No. 29 / Filed Jul 2 1895 / Protest No. / 78161a" and partial labels "...Leifert" and "...Siebert", 8 3/4 in. x 6 7/8 in., framed, 14 1/2 in. x 12 3/8 in. $700/900

396. KPM Porcelain Plaque of "Das Schokoladenmadchen" or "La Belle Chocolatiere", late 19th/early 20th c., impressed scepter mark over "KPM", "H" and ".I.", with oval stamp, possibly reading "Franz Till / Dresden", after the pastel by Jean‑Etienne Liotard (Swiss, 1702‑1789), 9 1/4 in. x 6 1/2 in., framed 10 3/4 in. x 8 in. $700/900

397. Creil Creamware Reticulated Tray, c. 1808‑1818, impressed mark, grisaille transfer vignette of Caesar pardoning Marcellus, base stenciled "Stòne / Coquerel et Le Gros / Paris", l. 13 3/4 in., w. 9 1/2 in. $400/600
Note: Creil was founded in the French Department of Oise in the late 1700's by a group of English potters. These potters were the first to introduce Creamware (also called Queen's Ware) to France. Using the process perfected by Joseph Wedgewood, Creil is also known for introducing transfer printing on pottery to France, making some of France's finest exampled in the early 19 century.

398. Paris Porcelain "Anneau d'Or" Navette‑Form Corbeille, mid‑19th c., h. 11 1/8 in., w. 14 1/2 in., d. 8 1/8 in. $400/600

399. American Renaissance "Medallion" Pattern Sterling Silver Coffee and Tea Service, c. 1860, John R. Wendt for Ball, Black & Co., New York, wc. 1851‑1876, marked "BALL, BLACK & CO/ NEW YORK/ 216/ ENGLISH STERLING"; incl. coffee pot, teapot, sugar, creamer and waste bowl, each cover with Spartan helmet finial, pyriform body with oval medallion framed by Neo‑Grec chasing, handsome period monogram on reverse, beaded handle surmounted by Renaissance bust, coffee pot h. 10 3/8 in., total wt. 97.25 troy ozs. $4000/6000
Provenance: Descended in the Family of William Galt Bullock (1815‑1896) of Lynchburg, VA and Jackson, MS.
Note: John R. Wendt, who produced some of the finest silver of his day, had a special relationship with Ball, Black & Co., much like that of John Chandler Moore with Tiffany & Co. Wendt did not use a maker's mark.
Wendt is thought to be the originator of die-stamped "Medallion" flatware: the 1862 U.S. design patent 1580 was issued in his name. The Wendt flatware features variations in the medallion portraits, as also seen on this coffee and tea service.
Ref.: Soeffing, D. Albert. Silver Medallion Flatware. pgs. 12-13, 76-78 and 98-99.

400. American Sterling Silver Tray, George W. Shiebler & Co., New York, act. 1876‑1910, ret. Frank Herschede, Cincinnati, shaped oval with floral and scroll border, 18 1/4 in. x 15 1/8 in., wt. 48.75 troy ozs. $1000/1500

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