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.

401. An Antique Continental Carved Oak Marriage Chest, 18th c. and later, hinged lift top, interior with till, the face with geometrically carved panels, decorative iron escutcheon and lock, later bracket foot base, height 17 in., width 41 1/2 in., depth 15 in. $800/1200

402. An American Cast Iron Hall Table, oval granite top, scrolled and foliate design, height 29 in., width 36 1/2 in., depth 14 1/4 in. $500/700

403. An American Classical Mahogany Secretary Bookcase in the Gothic Taste, c. 1830, probably Baltimore, the massive frieze with banded and Gothic panels on faceted columns flanking paneled doors; the lower case with escritoire drawer over graduated drawers flanked by colonnettes, plain plinth, paw feet, height 100 in., width 48 in., depth 24 1/2 in. $4000/6000

404. Robert Atkinson Fox (American, 1860-1935), "The Edge of the Forest", oil on canvas, signed lower right, "Marshall Field & Company" label en verso, 20 in. x 32 1/4 in., in a period frame; together with the book by Mortenson, Rita "R. Atkinson Fox His Life and Work", (Lombard. Illinois: Wallace Homestead Book Company, 1985). $2000/4000

405. Alexander Charles Stuart (Scottish/American, 1831-1898), "The Battle of Forts Jackson and St. Philip", oil on canvas, signed lower left, 30 in. x 50 1/4 in, in a period giltwood frame. $10000/15000
Note: Born in Glasgow, Scotland, then a major shipbuilding capital, Alexander Stuart was both an artist and a sailor who served in the United States Navy between 1863 and 1866 after immigrating to the United States in 1860. During the Civil War years, Stuart gained the knowledge and ideas necessary for the creation of his Civil War battle scene paintings, which are accurately and elegantly portrayed. Stuart painted many famous naval battles such as the CSS Virginia battling the USS Cumberland on March 8, 1862, and the CSS Virginia versus the USS Monitor on March 9, 1862. The Battle of Forts Jackson and St. Philip also took place in 1862, as the Union Navy attacked the two forts on the Mississippi River that protected the city of New Orleans. Because Stuart did not join the Union Navy until 1863, we must assume that he gathered his information from descriptions of these battles, either from contemporary newspapers or at a later date from his fellow seamen.
The Battle of Forts Jackson and St. Philip, depicted here by Stuart, took place on April 24, 1862, on the Mississippi River. After five days and nights of continuous mortar shelling of the forts, Admiral David G. Farragut, who led the attack by the Union Navy, decided that the forts could not be defeated and instead tried to bypass them, sending his ships up the river to New Orleans. Despite their best efforts, the Confederate ships and the two forts could not conquer the Union Navy, and the battle ended with the capture of Forts Jackson, St. Philip, Livingston, Pike, and the city of New Orleans.
From records of the description of the battle, and from scenes such as the famous Currier & Ives print of 1862, now located in the U.S. Navy Art Collection, this painting seems to be a precise portrayal of this famous night battle. In fact, it greatly resembles the painting Farragut's Fleet Passing the Forts Below New Orleans by Mauritz Frederik Hendrik De Haas, located at The Historic New Orleans Collection; De Haas was friends with Admiral Farragut and was advised by him on many of the details of the battle. From the fiery river to the smoky atmosphere, to the citadel tower of Fort Jackson in the background, Stuart's painting accurately details the events of this epic battle.
References: Gerdts, William, George E. Jordan, and Judith H. Bonner. Complementary Visions of Louisiana Art. The Historic New Orleans Collection, 1996. www.americancivilwar.com

406. Jacques Guillaume Lucien Amans (Dutch/French/New Orleans, 1801-1888), "Portrait of a Creole Gentleman", oil on canvas, unsigned, 36 in. x 28 3/4 in., in a period giltwood frame. $4000/6000
Note: Likely an acquaintance of Jean Joseph Vaudechamp and certainly aware of his success as a portrait painter during his seasonal visits to New Orleans, Jacques Amans arrived in Louisiana in the late 1830s in search of portrait commissions. Trained in the tradition of the French neoclassical painters, Amans was well received by Creole society and earned numerous commissions from wealthy planters and cottons brokers.
In the charming "Portrait of a Creole Gentleman", Amans employed his typical pose of a three-quarter length seated figure with emphasis on his hands and face. Aman's portraits have a softer edge and more fluid lush brushwork than the work of Vaudechamp.

407. Attributed to Sarah Miriam Peale (American, 1800-1885), "Portrait of a Young Man in a Gray Vest", oil on canvas, unsigned, 30 in. x 25 in., in a richly carved period giltwood frame. $5000/7000
Provenance: Private Collector, Baltimore.
Note: The youngest daughter of James Peale, Sarah Miriam Peale was taught to paint by her father and her uncle, Charles Willson Peale, from an early age. She and her sister, Anna, often traveled together from Philadelphia to Baltimore and painted portraits of families and of public figures. It is feasible, therefore, that the two sisters may have had some of the same sitters in their portraits; the young man in the picture illustrated here bears a striking resemblance to the young man in the painting Four Children by Anna Claypoole Peale, listed and illustrated in the Smithsonian Art Inventories Catalog. Both the ruddiness of the cheeks and the treatment of the background in Portrait of a Young Man in a Gray Vest are reminiscent of Sarah's painting techniques in multiple examples of her portraiture.
Both sisters were known to have painted the Jessop Family of Baltimore - through Sarah's well known Portrait of Charles Lavallen Jessop (Boy on a Rocking Horse), c. 1840, now in a private collection, and Anna's miniature watercolor on ivory, Mary Gorsuch Jessop with Charles Jessop on Reverse, n.d., also in a private collection. The resemblance of Charles Lavallen Jessop's features to both the young man in Four Children and in the painting illustrated here; the fact that Charles had three younger sisters (who could be the other three children in Four Children); and the fact that the Jessop family resided in Baltimore, indicate that this portrait of a young man in a gray vest may, in fact, be a portrait of Charles Lavallen Jessop.
References: Miller, Lillian B. The Peale Family: Creation of a Legacy 1770-1870. Abbeville Press, New York, 1996.
Holland, Eugenia Calvert, et al. Four Generations of Commissions of the Peale Collection of the Maryland Historical Society. Press of Schneidereith & Sons, Baltimore, Maryland, 1975.

408. Joseph Dwight Strong (American/Hawaii, 1852-1899), "Sunset Along River", oil on canvas, signed lower right, label reading "Babcock Galleries, New York" en verso, 11 1/2 in. x 15 3/4 in., in an antique gilt frame. $5000/7000
Note: Although he was born in Connecticut, Joseph Strong was educated on the West Coast at the California School of Design. Throughout his life he resided in such exotic locales as Hawaii and Samoa, in addition to several locales in the state of California. Strong was married to Robert Louis Stevenson's stepdaughter, Isobel Osbourne, in 1879, although the marriage was rocky and eventually ended in divorce. Throughout this time, he was sought after as a portraitist, although he also painted many landscapes. However, both his portraits and landscapes are now considered rare, and this work, most likely an example of a California scene, is an uncommon example of Strong's early work.

409. McKenney and Hall/ Publishers, "Tustennuggee Emathla or Jim Boy, A Creek Chief", and "Timpoochee Bernard, an Uchee Warrior", hand-colored large folio lithographs, from History of the Indian Tribes of North America, F.J. Greenough, Phild., 1838, sight 16 1/2 in. x 12 in., both attractively matted and framed alike. $600/900

410. McKenney and Hall/ Publishers, "John Ridge, A Cherokee", hand-colored large folio lithograph, from History of the Indian Tribes of North America, F.W. Greenough, 1838, sight 17 1/2 in. x 13 in., attractively matted and framed. $400/600

411. A Late Federal Carved and Gilded Pier Mirror, early 19th c., the flared cornice with pendant acorns, arched paneled frieze is associated; the frame with boldly carved acanthus and anthemion appliqués, blocked rosette corners, retaining original gilt surface, height 72 in., width 42 in., depth 9 in. $2000/3000

412. A Fine American Classical Carved Giltwood and Ebonized Mirror, early 19th c., Boston, the frame with half-round ebonized, burnished and matte gilt turnings, blocked rosette corners, original mirror plate, height 45 1/2 in., width 24 in. $2500/3500

413. An American Chippendale Carved Mahogany Dressing Table, c. 1770, Philadelphia, stepped and molded top on case with inset fluted corner columns, a long drawer and three short drawers; the center drawer carved with shell and scrolling vines; having scalloped apron and return, cabriole legs with scrolling acanthus carved knees, claw and ball feet; brasses appear original, partially retains original surface, the top reset and conserved, height 31 3/4 in., width 34 in., depth 21 in. $75000/125000
Provenance: Ex-collection C. E. H. Whitlock, New Haven, as is the Sarah Penn (September 6, 1780-January 28 1862), sampler (illustrated) though not presently offered for sale.
Note: A well-appointed bedchamber in pre-revolutionary Philadelphia required a dressing table, usually placed between two windows with a mirror hung above. This notably American form was often en suite with a high chest of drawers. Both high chests and dressing tables were largely out of use in English residences by 1730, but Philadelphia cabinetmakers developed these distinctive case pieces in a fully realized Rococo aesthetic as seen here.
The lower portions of dressing tables received more ornamentation as the top was usually protected with a covercloth. The carved decoration on the center drawer of this dressing table, with a shell deeply incised in the ridge peaks and curled at the edges in a concave circular frame with stippled background flanked by an appliqué of intertwined vines, relates to the work of a journeyman carver whose work appears on a group of important Philadelphia case pieces, most notably the Lawrence-Palmer mahogany high chest and dressing table suite at the Metropolitan Museum of Art (1); the Hollingsworth suite signed by Thomas Affleck (Philadelphia, 1740-1795) in the Chipstone foundation collection 1985-1998 (2); the Moulder high chest at the Metropolitan Museum of Art (3); and the Stevenson-Phillips family high chest once in the Dietrich Foundation collection (4).
The use of tulip poplar for the drawer sides, Atlantic white cedar for the drawer bottoms, and yellow pine for the back of this lot is consistent with many Philadelphia case pieces of the period including that of the Lawrence-Palmer and the Moulder high chests mentioned above. (5)
Reference: (1) Heckscher, American Furniture in the Metropolitan Museum of Art, p. 255-258, fig. 166-167; Hornor, Blue Book of Philadelphia Furniture, p. 109; and Sack. "The Development of the American High Chest of Drawer", Magazine Antiques, (May, 1988), p. 1127, pl. XX.

414. A Group of Eight Autograph Letters Signed and Documents Relating to William C. C. Claiborne, the letters as follows: letter, two pages, one sheet, folded, from W. C. C. Claiborne, Jr., to his aunt, dated from New York 5, Sept., 1845, written in French; letter, two pages, one sheet, folded from I. Taylor to W. C. C. Claiborne, Jr., dated from Oak (?), St. Landry, May 2, 1847; letter, one page, one sheet, folded from J. B. Clay to W. C. C. Claiborne, Jr., dated from Lexington, August 18th, 1847; letter, one page, one sheet, from T. B. Latrobe to W. C. C. Claiborne, Jr., dated from Baltimore, July 18th, 1848; letter, one page, one sheet, from T. B. Latrobe to W. C. C. Claiborne, Jr., dated from Baltimore, Sept. 8th, 1855; letter, five pages, one sheet, folded from Thomas Snead to W. C. C. Claiborne, Jr., dated from Augusta, 12th August 1857; letter, two pages, one sheet, folded from W. C. C. Claiborne, Jr., to C. Hedenberg, dated from New Orleans, 25th February 1858, describing, in detail, his father's physical features to the print publisher; partially printed document, United States Passport for W. C. C. Claiborne, Jr. and his wife and children, dated May 8th, 1847, signed by Hamilton Fish, Secretary of State $700/1000

415. An Autograph Letter Signed from Zebulon Pike to Brigadier General Wade Hampton about Troop Movements and Spanish Bandits, letter, four pages, one sheet, folded, dated from Baton Rouge, March 26th, 1812. $600/900
Note: Zebulon Montgomery Pike, Jr. (1779-1813) was an American soldier and explorer for whom Pikes Peak in Colorado is named. He led many exploratory expeditions in the new Western territory to find the headwaters of the Arkansas, Red and Mississippi rivers. At the time of this letter Pike had reached the rank of Colonel and served variously as quartermaster-general in New Orleans and inspector-general during the War of 1812.

416. An Autograph Letter Signed by Edmund P. Gaines, to William C.C. Claiborne about Unfair Taxation from the Spanish, letter, three pages, one sheet, folded, dated from Collectors Office, District of Mobile, Port of Fort Stoddert, Nov. 15, 1805, relating the 12 percent tax that the Spanish commandant is exacting from the ships at the City of Mobile, full text available. $500/700
Note: Edmund Pendleton Gaines (1777-1849) was born in Culpepper, Virginia. His father commanded a company in the Revolutionary War and was a member of the legislature that ratified the Constitution. Edmund joined the military and was stationed along the frontier, surveying boundaries and routes in the Mississippi Territory. He was Collector of the Port of Mobile and later became commander of Fort Stoddert in 1807. On February 19, 1807, Gaines and a colleague arrested Colonel Aaron Burr and later testified at his trial. He distinguished himself in the War of 1812 and finished his career dealing with the Creek and Seminole Indians.

417. [Louisiana/ Civil War Era Manuscript Journals], two freehand journals, written in French, of Captain Arthur F. Simon, Company B, Louisiana Yellow Jackets Battalion Infantry, one journal dates from the 1850s and covers his pre-Civil War studies at the College de la Louisiane; including original as well as transcribed poetry, other study material, and original hand drawn illustrations; the second journal dates from during the Civil War to 1867 and includes several entries from the battlefield, original and transcribed poetry, and original hand-drawn illustrations. $500/700
Note: Arthur Simon was the son of Louisiana State Supreme Court Justice Edward Simon and after the Civil War he became a prominent lawyer in the Opelousas area of St. Landry Parish. An English translation of several of Civil War-era entries is included.

418. A Group of Seven Autograph Letters Signed and Documents Relating to William C. C. Claiborne and Family, as follows: two clipped signatures of Baron de Carondelet; letter, two pages, one sheet, from Captain Edward D. Turner to Governor W. C. C. Claiborne, dated from Fort Claiborne, April 5th 1805; letter, twelve pages, three sheets, from an Unknown Judge to Governor W. C. C. Claiborne, dated from County of Attakapas, Dec. 29, 1805, relating his chagrin at, apparently, being forced to resign his position; affidavit, one page, one sheet, folded, by Dominic Hall, Judge of the District of New Orleans, dated December 2nd, 1807, relating Governor W. C. C. Claiborne's statement on the Burr Conspiracy; letter, two pages, one sheet, folded, from Woodson Wren, County Clerk to Governor W. C. C. Claiborne, dated from Attacapas Church, Dec. 30th 1811; letter, one page, one sheet, folded, from Nathanial Claiborne, to George Penn, Covington LA, dated from Washington, Jany., 28th 1828; slave deed of sale, dated August 8th, 1846 $500/700

419. An Autograph Letter Signed by Governor William C.C. Claiborne to Major General Villeré, New Orleans, one page, one sheet, folded, dated from New Orleans, 12th August, 1814, probably a first draft, relating in part: "The President having required from Louisiana, 1000 Militia Infantry", and "to incite our black population to insurrection". $400/600
Note: Jacques Philippe Villeré (1761-1830) was born in present day Kenner, LA. His father was Naval Secretary of Louisiana under King Louis XV. In 1804, Villeré was appointed a Major General in the territorial militia and a Justice of the Peace for St. Bernard Parish. He participated in the Battle of New Orleans, and was elected Governor of Louisiana in 1815 after narrowly defeating Joshua Lewis.

420. An Autograph Letter Signed by Henry Hopkins to Governor W. C. C. Claiborne Concerning a Murder Trial, three pages, dated from Attakapas, Feb. 12, 1804, relating testimony on the murder trial of Cadet St. Julien, full text available. $400/600
Note: Henry Hopkins was appointed by Claiborne to be Civilian Commandant of Attakapas and Opelousas, partly because of the controversy of this trial.

421. An Autograph Letter Signed by Henry Johnson, Senator, Whig Party, to William C.C. Claiborne, Jr. about the Annexation of Texas, letter, two pages, one sheet, folded, dated from City of Washington, March 19, 1844, relating in part: "within the last two or three days, the question of the annexation of Texas to the Union, has been spoken of pretty generally here ", and "It would, indeed, be difficult to accomplish...under the administrations of Tyler & Houston". $400/600
Note: William C. C. Claiborne, Jr., the son of the Governor, served as Speaker of the Louisiana State House of Representatives, 1842-1843, and Secretary of State, 1837-1838. Henry Johnson (1783-1964) was Governor of Louisiana, 1824-1828, and served two terms in the Senate, 1818-1824, and 1844-1849.

422. A Group of Three Addresses Relating to William C. C. Claiborne, as follows:; partial draft, eight pages, two sheets, no date, appearing to be part of an address given by Governor W. C. C. Claiborne; speech, nine pages, nine sheets, titled "An Oration delivered July 4th, 1793 at the Capitol in the City of Richmond, by William C. C. Claiborne at the request of the Military Officers", probably given by W. C. C. Claiborne's father; speech, seven pages, eight small sheets, appearing to be a speech as a Representative $300/500

423. A Document Dictated by Brigadier General Thomas Flournoy on Security Issues of New Orleans, two pages, one sheet, folded, not dated, relating the steps needed to deal with an insurrection or "sudden irruption of the enemy". $200/300
Note: Thomas Flournoy, a native of Augusta, Georgia, was called into service in the War of 1812. In 1813 he succeeded General Wilkinson as commander of the 7th Military District, comprising Mississippi Territory, Louisiana and Tennessee.

424. A Group of Five Autograph Letters Signed Relating to William C. C. Claiborne, the letters as follows:; letter, three pages, one sheet, folded, from W. C. C. Claiborne to his father William Claiborne, Esq., dated from Knoxville, 10th, April 1797; letter, four pages, one sheet, folded, from W. C. C. Claiborne to his brother, Captain Claiborne, dated from Phila., March 21, 1798; letter, one page, one sheet, folded, from W. C. C. Claiborne to his father William Claiborne, Esq., dated 10th, April 1797; letter, three pages, one sheet, folded, from Ferdinand Claiborne to his brother Governor William C. C. Claiborne, dated from Natchez, 21st, Nov. 1804; letter, one page, one sheet, folded, from W. C. Mead to Governor William C.C. Claiborne, dated from Soldiers Retreat, March 23rd 1815, informing him of the death of his brother General Ferdinand L. Claiborne $600/900

425. Two Antique Maps of New Orleans, including "A New Map of Louisiana", hand-colored engraving, published by Thomas Couperthwait, Phila., 1850, and "Taylor's Map of New Orleans", 1926, from Taylor's Pocket Map and Street Guide of New Orleans, sight 13 in. x 16 in. and 16 1/2 in. x 18 in. respectively, both attractively matted and framed. $600/900

426. English School, early 19th c., "The Death of General Wolfe", oil on canvas, unsigned, after the original of 1770 by Benjamin West (American/English 1738-1820) now in The National Gallery of Canada, 26 1/4 in. x 32 1/2 in., in a later cove-molded frame. $1000/1500
Note: The British Army General James Wolfe (1727-1759) was the revered hero of the Battle of Quebec, and was responsible for the eventual English victory over the French in Canada. This painting, and the original by Benjamin West upon which it is based, depict the final moments of Wolfe's life. Mortally wounded during the decisive battle of the Plains of Abraham, Wolfe lived just long enough to learn of his military success.

427. Sir Francis Wheatly (English, 1747-1801), "Haymakers at Rest", watercolor on paper, unsigned, label reading "Purchased at Lord Leverhulme Sale, Anderson Galleries, New York, March 4, 1926" en verso, sight 17 3/4 in. x 20 1/2 in., matted and framed. $1800/2500
Note: The son of a tailor, Wheatly began his artistic training at Slipley's Drawing School before being accepted at the Royal Academy Schools. After a brief stay in Dublin, where he fled after an affair with a fellow artist's wife, Wheatley settled in London. An accomplished engraver as well as a painter of rural genre scenes, Wheatly was a popular and successful artist. He was elected an Associate of the Royal Academy in 1790 and made a full member in 1791.
The label en verso reveals that this painting was originally in the collection of William Hesketh Lever, Lord Leverhulme (1851-1925), an avid art collector and the founder of the Lady Lever Art gallery (which he endowed in honor of his wife).
Reference: Bénézit. Dictionnaire des Peintres, Librairie Grund, 1976, vol. X, pp.713, 714.

428. Washington Allston (American, 1779-1843), "Landscape in Italy," oil on canvas, unsigned, bearing label reading "...219 Washington & 10 Bromfield" en verso, 20 1/4 in. x 38 in., in an antique gilt frame. $50000/70000
Note: Known as the first full-scale Romantic Artist, Washington Allston was extremely influential in expanding the "historical style" (as romantic idealism was called in the nineteenth century) of painting in America. Born in South Carolina in 1779, in the middle of the Revolutionary War, Allston was one of the first American artists to emerge in the newly founded country; during the first half of the nineteenth century, he was considered the greatest painter the United States had produced. Allston was educated at Harvard University and the Royal Academy in London, and soon after began his career as a painter and a poet. After studying in London and visiting Italy from 1804-1808, Allston returned to the United States, married his fiancé, Ann Channing, and lived in Boston for three years before returning to London to live. It was at this time in his life that Allston met Sir George Beaumont, a collector and amateur artist.
Beaumont, who was both a patron and a member of the artistic community, ran in the same circle as Allston, Samuel Taylor Coleridge, Sir David Wilkie, and William Wordsworth. He was a particular enthusiast of Allston's works, although he only commissioned two works from him: The Angel Releasing St. Peter from Prison, 1814-16, now in the Museum of Fine Arts, Boston; and a now unlocated landscape. Another painting by Allston, Morning in Italy, was exhibited around the same time and was received well by the art critic of the Examiner, who said, "It is a landscape in which art elegantly mixes with and sets off Nature and tower and temple and the pensiveness of ruins are seen, just as morning breaks…The colours are well mingled into a dun and natural hue, which hovers over nearly the whole scene, giving it a soft solemnity, and to which the yellow-edged turrets, hills, and clouds, oppose a delicate sprightliness…" The painting illustrated here, although uninscribed, fits the description from the critic. The bright sunrise over the background town and the ancient temple ruins, which were characteristic of Allston's Italian landscapes, complement the foreground figures in classical garb, dwarfed by the awe-inspiring elements of Nature in this Romantic Landscape. The painting offered here, lot 428, is quite possibly a heretofore unrecorded version of Allston's exhibited Morning in Italy; or may be the painting exhibited by Allston which is referred to in Richardson's Washington Allston and Gerdts and Stebbins' A Man of Genius.
References: Richardson, Edgar Preston. Washington Allston: A Study of the Romantic Artist in America. University of Chicago Press, Chicago, 1948, reprinted with additions in 1967.
Gerdts, William and Theodore E. Stebbins, Jr. A Man of Genius: The Art of Washington Allston. Museum of Fine Arts, Boston, 1979.
Owen, Felicity and David Blayney Brown. Collector of Genius: A Life of Sir George Beaumont. Yale University Press, New Haven, 1988.

429. An American Chippendale Carved Walnut Tea Table, 1760-1780, New York, circular tilt top composed of two boards on a birdcage support, ring-and-urn turned standard, tripod base with feather carved knees and ball and claw feet, height 28 in., diameter 32 in. $2000/3000
Provenance: Descended in the family of the Rev. Dr. Roelif H. Brooks, a native of New York City who served as Rector for St. Paul's Episcopal Church, Albany 1903-1926 and St. Thomas's Episcopal Church on Fifth Avenue and 53rd Street, New York (1926-1954).
Note: The carved knees on this table are similar to those on a mahogany table attributed to an Albany maker now in the collection of the State Department. A New York table with identical top, cage, standard and feet to this table was part of the Sack collection.
Reference: Conger, Treasures of State, Fine and Decorative Arts in the Diplomatic Reception Rooms of the U.S. Department of State, pl. 34. p. 114. Sact, Fine American Antiques for the Modest Collector, (New York, 1952).

430. An American Queen Anne Mahogany Dining Table, mid-18th c., probably New England, has a reset, possibly associated, top with rounded drop leaves, arched trefoil skirt, on cabriole legs ending in ball and claw feet, height 28 1/2 in., extended length 47 1/2 in., width 43 in. $1500/2500
Provenance: Descended in the family of the Rev. Dr. Roelif H. Brooks, Rector of St. Paul's Episcopal Church, Albany (1903-1926) and St. Thomas' Episcopal Church, 5th Avenue, New York City (1926-1954).

431. A Rare Pair of American Late Classical Carved Mahogany Sarcophagus-Form Cellarettes, c. 1830, New York, each having a stepped ogee molded lid, molded sides, S scroll carved feet, casters, height 23 in., width 23 in., depth 17 1/2 in. $7000/10000
Note: The boldly figured cases and "s" form feet on this rare pair of cellarettes relate closely to several known pieces from New York makers working in the Restauration mode, including a mahogany sofa attributed to J. & J.W. Meeks at the Metropolitan Museum of Art and a mahogany games table at Hawthorne, Natchez.
Reference: Otto. American Furniture of the 19th-Century, fig. 240 and 248

432. An American Rococo Highly Carved Rosewood and Laminated Étagère Cabinet, mid-19th c., attributed to J. & J.W. Meeks, New York, having a serpentine tiered superstructure of scalloped pierced carved shelves, surmounted by a C and S scrolled crest centered with pendant cluster and half-round acanthine shelf, mirrored back with foliate scroll supports; the base with rounded sides and rotating enclosed shelves, the center with a pair of conforming molded and mirrored doors, the whole with scrolled pendant fruit and nut carved brackets, raised on cabriole legs, height 96 in. $12000/18000
Note: The carved legs on this étagère are taller but otherwise identical to those on a rosewood étagère labeled by Meeks in the Newark Museum. The use of fruit pendants on attenuated drops on the crest and lower stiles and the fluted half-round door molding centering the cabinet doors of this lot are very similar to those on the Newark Museum example.
A rosewood étagère attributed to a New York maker with an upper candle shelf, superstructure composed of c-scrolls and shaped cabinet similar to that here was offered in these salesrooms as lot 566 in May of 1989.
Reference: Dietz, A Century of Revivals, Nineteenth-Century Furniture at the Newark Museum, p. 31, pl. 23 and Johnson, et. al, Nineteenth-Century Furniture at the Newark Museum, p. 31, pl. 23 and Johnson, et. al, Nineteenth Century America Furniture and Other Decorative Arts, p. 129.

433. An American Late Classical Mahogany Center Table, c. 1830, Boston, the oval white marble top above a plain skirt, clustered incurvate paneled stem issuing tall scrolled feet, casters, highly figured veneers throughout, height 30 1/2 in., width 42 in., depth 31 in. $2500/3500

434. Attributed to Chester Harding (American/Kentucky, 1792-1866), a pair of portraits of "Mr. Churchill Samuel" and "Mrs. Judith Talbot Samuel", oils on canvas, unsigned, biographical label en verso, 30 in. x 25 in., in matching period frames. $3500/5500
Provenance: Descended in the family of the sitters, Tennessee.
Note: Born into a political family, Judith Talbot Samuel was the daughter of Kentucky Senator Isham and Margaret Garrard Talbot. Portraits of her grandparents "Kentucky Governor James and Elizabeth Mountjoy Garrard" attributed to Chester Harding with the same provenance sold in these rooms on February 3, 2008.
Initially self-taught, Chester Harding studied for two months at Pennsylvania Academy of the Fine Arts and while living in Kentucky appears to have been influenced by the leading portraitist of the day, Matthew Jouett. From 1818 to 1823 Harding opened a portrait studio in Kentucky, where he earned national attention for his likeness of the frontier hero Daniel Boone. During this time, he evidently painted the engaging pendant portraits of "Mr. And Mrs. Churchill Samuel" and "Governor and Mrs. James Garrard."

435. American/Louisiana, 19th c. "Bayou Plaquemines", oil on canvas, unsigned, 24 in. x 20 in., in an ornate gilt frame. $5000/7000
Note: This evocative painting of a bayou scene at dusk, is reminiscent of the landscape artist Joseph Rusling Meeker. Meeker often traveled into the remote bayous, marshes and swamps of southern Louisiana and painted from his experiences. The solitude and lush tropical settings with the moss-draped tree were accurately and beautifully rendered.

436. Attributed to Norton Bush (American/California, 1834-1894), "Tropical Landscape", oil on canvas, unsigned, 16 in. x 26 in., in a period gilt frame. $4000/6000

437. A Five Piece American Coin Silver Presentation Tea Service, Mitchell & Tyler, Richmond, Virginia, wc. 1845-66, marked "MITCHELL & TYLER" in a rectangle on the bottom of the waste bowl and the kettle-on-stand, consisting of teapot, creamer, covered sugar, waste bowl and kettle on stand, Rococo revival repoussé chased pear-shaped forms, raised on openwork scroll feet, all over design of scrolling grapevines, the kettle-on-stand with floral and scroll decoration, all pieces with matching finials and feet, engraved script presentation "Presented to / Frederick Boyden / By his Friends./ Richmond, Va./ July 1851" on one side and engraved script initials "FB" on the other, kettle-on-stand height 14 3/4 in., combined weight 124.55 troy ozs. $7000/9000
Note: Frederick Boyden (1805-1857) was landlord of the Exchange Hotel in Richmond from 1841 to 1851. Located at the corner of Franklin and Fourteenth streets, the hotel was a showplace in its day and included a ballroom, reading room, baths, a post office and shops.
Reference: See Silversmiths of Virginia, George Barton Cutten, pp. 148-149.

438. An American Classical Coin Silver Sauce Boat, Geradus Boyce, New York, early 19th c., intaglio mark G. Boyce, working 1814-1854 New York City, retains original script monogram, palmette oval flanged foot, height 2 3/4 in., length 6 1/4 in., weight 3.2 troy ozs. $600/900

439. A New Orleans Coin Silver Goblet, ret. Young & Co., wc. 1850-53, engraved "Myra Kilbourn / from / Father", on a plain tapered cylindrical bowl, stylized band below molded rim, knopped stem, on a circular foot, incised mark "YOUNG & CO", "COIN" and "55", height 6 1/4 in., weight 4.85 troy ozs. $300/500

440. A Fine Napoleon III Sevres Porcelain Circular Covered Soup Tureen, c. 1860-1862, the white-glazed and gilt-banded body bearing a crowned Imperial cipher, and the underside marked "Sevres (18)60" in underglaze green, as well as "Doré a Sevres (18)62" with the same cipher in underglaze red; together with 19th c. English-language paper labels on underside of cover and foot, height 7 3/4 in., width 13 in., depth 11 in. $300/500

441. An Extensive Paris Porcelain Polychrome and Gilt-Decorated Dinner Service, mid-19th c., peach borders, floral decoration, including a large lidded tureen, a pair of lidded tureens, 5 large oval platters, 3 small oval platters, 2 open vegetables, 2 round compotes, 2 shell-form compotes, 4 shell-form dishes, a pair of lidded sauce boats with attached undertrays (one lacking lid), 1 small lidded sauce boat with attached undertray, 1 waste bowl, 9 demitasse cups with 8 saucers, 3 coffee cups with 14 saucers, 18 dinner plates, 12 luncheon plates and 20 dessert plates, (approx. 100 pcs.) $4000/6000

442. An American Classical Gilt-Stenciled Mahogany Drop-Leaf Table, c. 1830, New York, the rectangular top with two leaves, skirt with Moorish arch and flower vine stencils, massive baluster standard also with ebonized and gilt decoration, drum plinth, acanthus-carved legs with paw feet, iron casters, height 30 in., length 47 1/2 in., extended width 66 1/2 in. $3000/5000

443. An American Late Classical Carved Mahogany Armoire in the Gothic Taste, c. 1835, New York, attributed to John and Joseph W. Meeks, massive stepped and flared cornice, pair of Gothic arched doors enclosing a belt of cased drawers, flanked by Doric columns, blocked plinth, on pillar feet, height 96 in., width 88 in., depth 31 1/2 in. $6000/8000
Note: The distinctive squared urn feet on this armoire are identical to those on a mahogany bookcase in the Gothic taste labeled by J. and J.W. Meeks at the Metropolitan Museum of Art. The gothicized door panels on this armoire are very similar to those of the armoire illustrated in plate 28 of the well-known Meeks "Broadside."
Reference: Tracy. 19th -Century America, Furniture and Decorative Arts, pl. 98; Voorsanger and Howat, Art and the Empire City,. p. 517.

444. A Pair of American Federal Carved Mahogany Easy Chairs, c. 1800, New York, arched backs, shaped arms, serpentine seats, on turned and tapered reeded legs, casters, ash secondary wood, height 35 1/2 in., width 25 in., depth 19 in $12000/18000
Note: A Federal mahogany chair by a New York maker from the Bolling collection with a shaped back and seat rail similar to those seen here is pictured in Heckscher. "Form and Frame: New Thoughts on the American Easy Chair," Magazine Antiques (December, 1971), p. 889, fig. 10.

445. A Diminutive Regency Mahogany Sécrétaire, early 19th c., the superstructure with scalloped backsplash and two shelves, velvet-lined foldover writing flap, paneled doors enclosing shelves on saber legs, width 30 1/4 in., depth 17 3/4 in. $800/1200

446. A Pair of Regency Cream and Green Painted Side Chairs, c. 1800, each having an incised tablet crest rail above a gilt and painted grisaille panel depicting putti at work, the other with Classical dancers, shaped carved seat with fluted rail on cabriole legs. $1500/2500

447. A Modern Gothic Carved Mahogany Bookcase, c. 1870, pedimented, incised galleried top with foliate carved backsplash, molded glazed doors enclosing adjustable shelves, turned colonnettes to the sides, two drawer blocked base, height 75 in., width 52 1/2 in., depth 15 1/2 in. $1500/2000

448. An Antique Dutch Burled Walnut Bombé Commode, 18th c., scalloped top above three shaped drawers, canted scrolled stiles, swagged urn-carved base on massive ball and claw feet, height 32 in., width 40 in., depth 21 1/2 in. $2000/3000

449. An Antique French Louis XV-Style Bronze Doré and Crystal Twenty-Four Light Chandelier, mid-19th c., with vasiform glass standard, ending in acanthine cast ball, upper corona with bellflower supports, fluted light supports with floral mounts, now electrified, height 44 in., diameter 39 in. $7000/10000
Provenance: Purchased c. 1952 from Mme. Granet, New Orleans, and installed in a Mississippi historic house.

450. An Egyptian Revival Marble and Gilt Bronze-Mounted Clock Garniture, mid-19th c., yellow breccia and black marble, incised and painted with symbols including Isis and Nekhbet, the clock surmounted by a bronze Assyrian Lamassu, the human headed winged bull, a symbol of protection, clock: height 18 in., width 15 1/2 in., depth 7 in.; obelisk height 20 in. $2500/3500

451. A Chinese Export Porcelain "Mandarin Palette" Punchbowl, early 19th c., finely gilt and polychrome enameled, the exterior with shaped cartouches encircling figures at leisurely pursuits in outdoor, waterfront settings accompanied by various animals, all reserved amongst bird-and-branch vignettes on an iron red and gilt circular pattern ground, the interior rim with a scrolling border of butterflies, lady bugs and floral sprays beneath a purple diaper band, the well with a central floral roundel, height 4 3/4 in., diameter 11 in. $2000/4000

452. A Chinese Export Lacquer Tea Caddy, early 19th c., of rectangular form with canted corners, all eight facets with a central slightly raised panel decorated with figures in outdoor settings, painted allover in gilt and red enamels on a black ground, the hinged top enclosing a pair of conforming double-lidded engraved pewter tea canisters, raised on gilt winged paw feet, height 7 in., length 12 in., width 9 1/4 in. $800/1200

453. A Japanese Lacquer Portable Writing Desk, early 20th c., the hinged top opening to interior compartments and a felt writing surface, gold hiramaki-e decoration throughout, the exterior top and front depicting a fishing village with Mount Fuji in the background, height 7 1/2 in., width 19 1/2 in., depth 13 in. $400/600

454. A Pair of Patinated Bronze Jardinieres in the Egyptianesque Style, beaded urn form with classical masks, seated sphinx mounts and square plinth base, height 24 in., width 22 in. $1500/2500

455. A Diminutive Pair of Regency-Style Gilt and Patinated Bronze Figural Candleholders, 19th c., opposed sphinx figures, raised on narrow white onyx plinth, black marble base, mounted with grape clusters and egg and dart molding, height 8 3/4 in., width 4 1/4 in., depth 2 1/2 in. $1500/2500

456. A Group of English Staffordshire Ironstone Dinner Ware, c. 1825, colorfully decorated in the Chinoiserie "Flying Bird" pattern, most marked "Mason's", including a footed bowl, a large platter, a small platter, 2 soup plates and 10 luncheon plates, (15 pcs.) $500/700

457. Italian School, 19th c., pair of oval architectural paintings, including "The Suitor" and "The Visitor", oil on canvas, each 45 in. x 30 in., in later frames. $3000/5000

458. An Italian Rococo Carved Walnut Serpentine Commode, early 18th c., the molded top above three drawers fitted with shell-form brass pulls, molded base and cabriole legs ending in slipper feet, height 38 in., width 54 in., depth 23 1/2 in. $6000/8000

459. An Antique French Provincial Walnut Armchair, 19th c., shaped splat back, tapered stiles, shaped arms with turned uprights, bowed rush seat, turned legs connected by stretchers, height 37 in., width 21 in., depth 20 in. $400/600
Note: The overall form of this chair, with scalloped splats, tapering arms, bowed rush seat, and incurvate twin stretchers is typical of those continued by the Acadian settlers of Louisiana.
Similar chairs in the collection of Dr. George Crozat at Houmas House were sold by Neal Auction Company as lots 610 and 611 on May 17, 2003.
Reference: One armchair from the Crozat collection appears in Poesch. Early Louisiana Furniture. p. 46, pl. 30.

460. An Antique Provincial Louis XVI-Style Carved Oak Cupboard, 19th c., dentil molded cornice, carved molded doors depicting urns of flowers, belt of two drawers and conforming cupboard doors, molded base, blocked feet, height 87 in., width 71 1/2 in., depth 26 1/2 in. $3000/5000

461. An Antique Continental Carved Walnut Table, rectangular molded top over frieze with small drawer, turned legs, box stretcher, bun feet, height 31 1/2 in., width 56 in., depth 33 1/2 in. $1800/2500

462. A George III Inlaid Walnut Secretary Bookcase, 18th c., cove-molded cornice, shaped glazed doors, interior with adjustable shelves above an oyster veneered and banded slant front desk with fitted interior, cross-banded drawers below, on molded base, bracket feet, height 80 1/2 in., width 38 1/2 in., depth 22 1/2 in. $5000/8000

463. A Fine Diminutive Spanish Inlaid Walnut Desk on Frame, 18th c., reeded edge top with geometric stringing, the slant front lid with crown and coat of arms flanked by rampant lions, serpentine fitted interior with scalloped compartments, small arched drawers and prospect door with flower urn, two drawers below on a serpentine table base, the scalloped skirt having foliate volutes on ornately carved cabriole legs connected by stretchers, height 46 in., width 35 in., depth 24 in. $6000/8000

464. Two French Provincial Walnut Armchairs, 19th c., arched tapered splat backs, shaped arms with turned uprights, rounded rush seats, turned tapered legs connected by shaped stretchers, height 35 in., width 20 in., depth 20 in. $800/1200

465. An American Classical Mahogany Tilt-Top Table, early 19th c., segmented flame veneered top with molded edge, chamfered triangular flared stem on an incurvate triangular plinth ending in scrolled feet, height 30 in., diameter 42 in. $2000/3000

466. A French Painted Iron and Brass Baker's Table, late 19th c., the slate top resting on a rectangular frame, scrolled legs, the stretchers and circular elements with turned brass fittings and cast medallions, height 29 in., width 84 in., depth 42 in. $2000/3000

467. A Pair of Large American Aesthetic Brass Andirons, late 19th c., attributed to J.L. Mott, cone finials, vasiform shafts, splayed legs with turned rods at the center, iron billet bars, height 25 in., length 18 in., width 10 in. $1500/2000

468. A Miniature Pair of American Classical Brass Andirons, c. 1820, with original steel threaded shaft and billet bars, having faceted plinths above spurred legs set on ball feet, height 7 1/2 in. $600/900

469. Richard La Barre Goodwin (American, 1840-1910), "Still Life of Peaches", watercolor, signed lower left, Syracuse Moulding Co., New York en verso, sight 9 in. x 15 in. $2000/4000

470. Attributed to James Godman Peale (American/Philadelphia, 1823-1891), a group of three watercolors, including "Two Birds and a Nest", "Butterfly", and "Bird and Flowers", unsigned, label en verso of each reading "M. Knoedler & Co., Inc., 14 East 57th Street, New York, N.Y.", sight 4 3/4 in. x 7 1/4 in., 4 3/4 in. x 8 1/2 in., and 4 3/4 in. x 7 3/4 in., respectively, similarly matted and framed. $800/1200
Note: James Godman Peale was one of the last surviving members of the famous Peale family. His mother and father, Sophonisba Peale and James Peale, Jr., were first cousins once removed; Sophonisba was the daughter of Raphaelle Peale and the granddaughter of Charles Willson Peale, while James Peale, Jr. was the son of James Peale, Sr. According to the 1860 United States Census, James Godman Peale was a vinegar merchant in Philadelphia. He was married to Ellen Q.M. Field, and they had three children, Washington, Fulton, and Clifton. An amateur painter, Peale was known to paint as a hobby during his spare time. With these three paintings, which depict subject matter from nature, Peale was following in the steps of his cousin, Titian Ramsay Peale, who generally painted plants, birds, and other nature scenes. This interest in science and nature may have been passed down to him through the multiple family members that worked in the famous Peale Museum in Baltimore, Maryland.

471. Carl Fehmer (American/Boston 1838-1916/7), "Via Calepina, Trento, Italy", watercolor, signed and dated "'95" lower right, sight 15 1/4 in. x 9 1/4 in., in an antique gilt frame. $400/600
Note: Carl Fehmer was a noted Boston architect known for his work on public buildings.

472. French School, late 19th c., "Cathedral de Notre Dame á Anvers", watercolor on paper, monogrammed "CP", dated "1887", and titled "Anvers (Antwerp)" lower right, 20 in. x 13 in., in a period carved oak frame. $450/650

473. Continental School, 19th c., "Winter Evening in an Alpine Village", gouache and watercolor, sight 23 1/2 in. x 31 1/2 in., in a modern frame. $1500/2000

474. Continental School, 19th c., "Spring Afternoon in an Alpine Village, with a View of the City in the Distance", gouache and watercolor, sight 23 3/4 in. x 33 in., in a period giltwood frame. $1500/2000

475. A Three Piece Chinese Famille Rose Porcelain Bronze-Mounted Clock Garniture Set, covered vases with reticulated lids mounted with dragons, old electric movement, retailed by J.E. Caldwell & Co., Philadelphia, on scrolled feet, clock height 18 1/2 in., width 11 in., depth 8 in. $1800/2500
Note: James E. Caldwell founded the firm J. E. Caldwell & Co in 1838. From the start the firm acquired a national reputation for their elegant designs in silverware, which were presented on many occasions as testimonials for distinguished service. Diamonds, fine watches, statuary, bronzes, porcelain, fine cabinet furniture and an almost endless variety of miscellaneous articles were found in their large store on Chestnut Street.

476. An Antique French Vernis Martin Bracket Clock, 19th c., sculpted case with bronze mounts, painted with floral sprays, the reserve depicting a courting scene, the porcelain dial with Roman and Arabic numerals, striking bell movement marked "Vincenti, Medaille d'Argent, 1855", the serpentine bracket with rosetted molding, height 31 1/2 in., width 14 1/2 in., depth 8 1/2 in. $4000/6000

477. An Antique George III-Style Carved Mahogany Kneehole Desk in the Chinese Chippendale Taste, late 19th c., stamped Edwards and Roberts, London, galleried back with blind fretwork drawers, the top above two conforming drawers, bracketed kneehole, drawer to each side, raised on clustered columnar legs ending in spade feet, height 40 in., width 42 in., depth 23 1/2 in. $800/1200

478. A George III-Style Carved Mahogany Armchair, upholstered back and seat, scrolled arms terminating in eagle heads, shell and volute-carved cabriole legs ending in ball and claw feet, height 41 1/2 in., width 29 1/2 in., depth 21 1/2 in. $1000/1500

479. A William IV Mahogany Server, c. 1835, the reticulated gallery above a rectangular molded top on scroll supports, paneled doors enclosing a partially fitted interior, on a molded plinth, height 54 in., width 52 in., depth 19 1/2 in. $1000/2000

480. A Group of Three Rock Crystal Obelisks on Boullework Bases, 20th c., obelisks of typical form, raised on form-fitting, tall inlaid bases, heights 26 in., 28 in., 30 in., widths and depths 6 in. on all. $4000/6000

481. A French Carved and Painted Architectural Cabinet in the Form of a Rococo Fireplace, hinged dome top, foliate carved frieze, open front with faux brick back, the corners with acanthus carved voluted S scrolls, shaped base, scroll feet, height 59 in., width 54 in., depth 23 in. $2000/4000

482. An Impressive Pair of Neoclassical-Style Verde Antico Marble Tazzas, each finely carved bowl with winged eagles, on fluted tapering shafts, associated marble pedestals, height 55 in., width 34 in. $7000/10000

483. A Pair of Louis XVI-Style Carved Fruitwood Fauteuils, rectangular padded backs and seats, ribbon and bead crests, shaped padded acanthus carved arms, rosette blocked corners on fluted tapered legs, height 37 1/2 in., width 25 in., depth 18 1/2 in. $1800/2500

484. A Pair of Italian Carved and Painted Giltwood Figural Torchères, 18th c., each in standing pose and holding a cornucopia, on square stepped base, height 22 in., width 10 in. Note: losses to surface. $6000/8000

485. A Continental Painted Bronze, Tôle and Iron Eight-Light Figural Chandelier, early 20th c., leaf-decorated corona, cage-form with scrolling supports, applied holly branches and flowers, each light cluster centered by a phoenix perched upon a crystal glass ball, electrified, height 34 in., diameter 24 in. $7000/10000

486. A Pair of Continental Painted Bronze, Tôle and Iron Two-Light Sconces, early 20th c., shaped backplate, scrolling support, with applied vining branches and berries, the lights centered by a phoenix perched upon a crystal glass ball, electrified, height 26 in., width 11 in., depth 9 in. $2500/3500

487. Two Chinese Kesi Textiles, 19th c., each worked in woven cut-silk technique, the first, a kesi panel depicting a young maiden on a burled wood boat with a vase and flowers, her hair, hairpiece, earrings and bracelets featuring gold thread highlights, sight 35 in. x 17 1/2 in., framed; the second, a kesi dragon robe fragment, the central five-clawed dragon worked in gold stitch, above a partial terrestrial diagram and lishui stripes, 38 in. x 18 in., now mounted as a banner on pole. $1000/1500

488. A Set of Four Chinese Embroidered Textile Fragments, early-to-late 19th c., the first, a set of three fragments from the same textile, worked in satin stitch and depicting He Xian Gu and a phoenix, surrounded by clouds, butterflies and flowering plants, sight 11 in. x 4 in., 11 in. x 12 1/2 in. and 11 in. x 16 in., each similarly framed; and another textile fragment, possibly a table cover or an altar hanging, worked in satin stitch with butterflies and flowers on a silk damask woven ground, sight 13 1/4 in. x 18 1/4 in., framed. $300/500

489. A Group of Chinese Embroidered Sleeve Bands, late 18th to mid-19th c., the first, a pair of attached sleeve bands, late 18th c., with fine silk threads worked in blind (or forbidden) stitch and long satin stitch, depicting peonies and bats, sight 17 in. x 7 in., framed; the second, a pair of attached sleeve bands, early 19th c., worked in blind stitch and long satin stitch, depicting peony and other flowering plants, sight 18 in. x 17 1/2 in., framed; the third, a single sleeve band, mid-19th c., worked in blind stitch and long satin stitch, depicting peony and butterflies, sight 18 1/2 in. x 3 3/4 in., framed. $600/800

490. A Pair of Attached Chinese Embroidered Sleeve Bands and a Pair of Uncut Embroidery Sections, 19th c., the sleeve bands worked in couched gold threads depicting peaches and butterflies on a blue silk ground, the uncut embroidery worked in satin stitch, depicting peony and butterfly on a yellow-gold ground, sight 20 in. x 10 in. and 15 in. x 16 3/4 in. respectively. $400/600

491. A Fine Persian Esfahan Carpet, cream and red ground, overall vining floral decoration, 7 ft. 2 in. x 12 ft. $5000/7000

492. A Kerman Rug, central red ground with medallion and spandrels, stylized floral borders, 10 ft. 2 in. x 15 ft. 8 in. $2000/3000

493. A Persian Sultanabad Carpet, central field with repeating floral and gul motifs, stylized floral border, 9 ft. 8 in. x 13 ft. 8 in. $3500/4500

494. A Persian Kashan Carpet, red and blue ground, serrated central medallion and spandrels, overall floral motifs, 9 ft. 8 in. x 13 ft. $3000/5000

495. A Keshan Carpet, red and blue ground, central medallion and spandrels, overall vining floral motifs, 10 ft. x 13 ft. 4 in. $1500/2500

496. A Shiraz Runner, red ground, repeating central medallions, overall stylized floral motifs, 3 ft. 5 in. x 10 ft. 8 in. $800/1200

497. A Persian Runner, red ground, repeating central medallions, 3 ft. x 16 ft. 2 in. $800/1200

498. An Antique Louis XVI-Style Inlaid Fruitwood Bureau à Cylindre, 19th c., variegated marble top above three inlaid drawers and cylinder, tooled leather pull-out writing surface and a bank of drawers, the base with kneehole configuration of drawers, on square tapering legs with brass cuffs, height 47 1/2 in., width 48 in., depth 25 1/2 in. $3000/5000

499. A George II Burl Walnut Desk and Bookcase, short stepped cornice above mirrored doors with pin hinges, fitted candle slides, crossbanded slant front with fitted interior, graduated drawers, on bracket feet, oak secondary wood, height 85 in., width 36 in., depth 21 1/2 in. $12000/18000
Provenance: Estate of Bruce Blakemore Poitevent, New Orleans.