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Information below is the lot/description information from our Louisiana Purchase Auction, November 16, 17 & 18, 2018. 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 401-500

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401. American Aesthetic Carved Mahogany and Polychrome-Painted Three-Panel Screen, c. 1880, attr. to Herter Brothers, New York, classical reserves, center floral and swag panels, lower panels with later velvet, embossed gilt back, h. 67 3/4 in., w. 72 in. $2000/3000

402. American Renaissance Carved, Ebonized, Gilt-Incised and Inlaid Slipper Chair, c. 1865-1875, attr. to Pottier & Stymus, New York, carved shell crest, turned finials, crest rail with mother-of-pearl stars and a polychrome porcelain plaque of a maiden, turned and fluted stiles, padded back and seat, conforming seat rail, tapered and fluted legs, casters, h. 29 in., w. 19 in., d. 20 in. $500/1000
Note: The mother-of-pearl star inlay and Louis XVI-influenced styling of the chair in the present lot are features common on Pottier & Stymus furniture designed by French artist Joseph Cremer, who worked closely with the prestigious New York firm. A Cremer-signed table conserved by the Saint Louis Art Museum displays a similar star inlay, ebonized fluted legs, and gilt incising. The chair shown here also has a related plaque of a Classical maiden and comparable overall proportions to a Pottier & Stymus chair in the collection of the Metropolitan Museum of Art.
Ref.: Saint Louis Art Museum. “Center Table.” Accessed October 18, 2018. Metropolitan Museum of Art. “Side Chair.” Accessed Oct. 18, 2018.

403. Very Rare American Rococo Carved and Laminated Rosewood Bedstead, c. 1850-1860, attr. to John Henry Belter, New York, serpentine-form reticulated phoenix and foliate motif headboard centered by an acanthus medallion flanked by mermaids, conforming rails and foot board, crest of foot board is carved on the reverse with a diaper-pattern medallion, cabochon-decorated scrolled feet; together with custom box-spring, h. 49 in., l. 78 in., w. 61 in. Note: Accommodates double mattress. $15000/25000
Provenance: Estate of M. Qvistgaard-Petersen, Palmer Ave., New Orleans; Morton's Auction, New Orleans, Oct. 1987; Estate of Gordon and Vera Noakes, Detroit, MI.
Note: The stunning and ornately carved bed offered here is directly related to a patent filed by John Henry Belter in 1856. The U.S. Patent No. 15552 features a bed design showing a serpentine two-part bedstead with an elaborately scrolled headboard and footboard, nearly identical to the present lot. The patent illustration also shows Belter’s signature seven-layer lamination and the corresponding patent specification text written by Belter explains his intricate design process. Interestingly, Belter states within the patent text that the bed was constructed to be easily taken apart without the use of tools, which are “an evil more particularly apparent when it becomes necessary to separate the parts very hurriedly in case of a fire."
A superb example of Belter’s figural carvings, the crests of this bed are surmounted by whimsical mermaids and fanciful phoenix heads are placed among the crest foliage. A close examination of the mermaid faces shows the same distinctive features found on other documented Belter figures, including the maiden and cupids on an étagère from the Service Collection of Grant Oakes and a well-known parlor suite that features carved busts of Shakespeare, Chaucer, Dante, Virgil, George Washington, Thomas Jefferson, and Benjamin Franklin.
Ref.: United States Patent and Trademark Office, Patent #US000015552. Accessed October 18, 2018; Dubrow, Eileen and Richard. American Furniture of the 19th Century, 1840-1880. Pennsylvania: Schiffer Publishing, 1983, pp. 110, 122, 148-150, 155.

404. American Rococo Carved and Laminated Rosewood Dresser, c. 1850-1860, attr. to John Henry Belter, New York, fruit and cornucopia-carved crest centered by a pair of opposing doves, mirror flanked by small shelves, exaggerated serpentine marble top with conforming case, four graduated drawers, top drawer with shaped divided interior, conforming base, h. 89 in., w. 48 1/2 in., d. 23 3/4 in. $10000/15000
Provenance: Estate of Gordon and Vera Noakes, Detroit, MI.
Note: The elegantly carved dresser in the present lot is directly related to a dresser by John Henry Belter conserved by the Brooklyn Museum, featuring a similar foliate crest with distinctively carved birds, the same configuration of mirrors, and a serpentine case. The dresser here also features a uniquely shaped divider in the top drawer and a nearly identical serpentine case as a Belter dresser in the Dubrow Collection.
Ref.: Dubrow, Eileen and Richard. American Furniture of the 19th Century, 1840-1880. Pennsylvania: Schiffer Publishing, 1983, pp. 152-154.

405. Very Fine American Rococo Carved and Laminated Rosewood Sofa, c. 1850-1860, attr. to the "Bird Pattern" maker, New York, elaborately carved floral crest flanked by opposing birds, meandering foliate serpentine reticulated crest rail, molded arms and uprights, serpentine seat rail, cabriole legs, casters, h. 50 3/4 in., w. 87 1/4 in., d. 30 in. $8000/12000
Provenance: Estate of Gordon and Vera Noakes, Detroit, MI.
Note: The dramatic reticulation of the crest rail, finely carved opposing birds centering the crest, use of sophisticated seven-layer laminated construction, shape of the rear legs, and the molding of the arm supports, seat rail, and front legs of this sofa are indicative of the rare "Bird Pattern" examples of seated furniture made in New York City during the mid-19th century.
Ref.: "Bird Pattern" examples include an armchair illustrated in American Furniture of the 19th Century by Eileen and Richard Dubrow, p. 95, and a closely related parlor suite sold in these rooms, Oct. 6, 2007, as lot 274.

406. Rare American Rococo Carved and Laminated Rosewood Slipper Chair, c. 1850-1860, attr. to John Henry Belter, New York, floral-carved crest, scrolled crest rail, elaborately reticulated back carved with foliage, grapes, and acorns, serpentine seat, floral-carved seat rail, cabriole legs, casters, h. 43 3/4 in., w. 18 in., d. 16 in. $1500/2500
Provenance: Estate of Gordon and Vera Noakes, Detroit, MI.

407. Rare American Rococo Carved Rosewood Center Table, mid-to-late 19th c., New York, shaped marble top, egg and dart molded edge, egg and dart robustly carved cabriole legs, stretchers centered by a spindled basket, foliate scrolled feet, casters, h. 30 1/2 in., w. 43 in., d. 32 1/2 in. $2000/3000
Provenance: Estate of Gordon and Vera Noakes, Detroit, MI.

408. Rare American Renaissance Carved, Parcel Ebonized, Gilt-Incised and Porcelain-Mounted Rosewood Cabinet, 19th c., New York, possibly Pottier & Stymus, architectonic crest with spindled gallery, center arched cabinet with marquetry trophée opens to maple interior, flanked by shelves, with stop-fluted supports, plinth base, h. 65 in., w. 61 in., d. 19 in. $5000/7000
Note: The lavishly decorated cabinet in the present lot is among the group of rare Napoleon III-influenced furniture made by prestigious New York cabinetmakers such as Pottier & Stymus, Alexander Roux, and Leon Marcotte. This cabinet is closely related to a New York mirrored console from the renowned Virginia Carroll Crawford Collection conserved by the High Museum of Art, featuring ebonized embellishments, gilt incising, similar polychrome porcelain plaques, and nearly identical scrolled foliate carvings.
Ref.: Pierce, Donald C. Art & Enterprise: American Decorative Art, 1825-1917, The Virginia Carroll Crawford Collection. Atlanta: High Museum of Art, 1999, pp.128-129.

409. Very Fine American Classical Carved Mahogany Sofa Table, c. 1820, Philadelphia, drop-leaf top, two frieze drawers, reverse with two faux drawers, carved lyre supports, turned stretcher, brass paw feet, casters, pine and poplar secondary woods, h. 29 in., w. 63 in., d. 30 1/2 in. $4000/6000
Provenance: New Orleans Antiquarian Collection.
Note: While relatively common among English Regency furniture, sofa tables were a rarer form in the U.S. during the early 19th century. The finely carved lyre supports on the sofa table offered here are directly related to Philadelphia Classical furniture, such as a dining table featuring a nearly identical foliate panel and similar disk carvings, illustrated in the Boor publication Philadelphia Empire Furniture.
Ref.: Boor, Allison, Jonathan Boor, et al. Philadelphia Empire Furniture. Pennsylvania: John William Boor, 2006, p. 158. For additional examples with related foliate carvings, see pp. 187 and 261.

410. Fine Benchmade Mahogany Campeche Chair, 20th c., probably after Phyfe, stamped “Made in Peru,” reeded stiles and arms, tooled leather seat, curule base, bulbous stretchers, h. 40 in., w. 23 1/2 in., d. 30 in. $1500/2500
Provenance: Sumpter Priddy; Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.

411. American Classical Carved Mahogany Chamber Table, c. 1820, attr. to Duncan Phyfe, New York, case with three drawers, reeded curule base, turned stretcher, paw feet, casters, h. 35 1/4 in., w. 36 in., d. 19 3/4 in. $2000/3000
Provenance: New Orleans Antiquarian Collection.
Note: The curule base on the table here is closely related to a large suite of furniture made by Duncan Phyfe for New York merchant Thomas Cornell Pearsall, most of which is now in the collection of the Metropolitan Museum of Art. Each piece of seated furniture in the Pearsall suite features a similarly styled base with a baluster-turned stretcher and delicate paw feet, also seen on the table in the present lot. The overall form of this table is a near match to a dressing table made by Phyfe for the home of James Vanderpoel in Kinderhook, New York, illustrated in Nancy McClelland’s Duncan Phyfe and the English Regency, 1735-1830.
Ref.: Brown, Michael K. and Peter M. Kenny. Duncan Phyfe: Master Cabinetmaker in New York. New York: Metropolitan Museum of Art, 2011, p. 178; McClelland, Nancy. Duncan Phyfe and the English Regency, 1735-1830. New York: Dover Publications, 1980 (org. 1939), p. 171 (also see pp. 289-293).

412. American Gothic Carved Rosewood Side Chair, c. 1840, probably Alexander Roux, New York, crocketed crest, finialed, tapered and segmented stiles, trapezoidal seat, conforming tapered legs, casters, h. 50 in., w. 19 in., d. 18 1/2 in. $1200/1800
Ill.: Feld, Elizabeth and Stuart P. Feld. In Pointed Style: The Gothic Revival in America, 1800-1860. New York: Hirschl & Adler Galleries, 2006, pp. 114-115.

413. Fine American Gothic Carved Walnut Octagonal Library Table, c. 1850, New York, inset baize top, molded beveled edge, blind fretwork frieze with four drawers, octagonal pedestal with quatrefoil and arched panels, buttress brackets, walnut and satinwood drawer blades, birdseye maple drawer linings, poplar and pine secondary woods, h. 30 in., w. 45 in., d. 45 in. $7000/10000
Ill.: Feld, Elizabeth and Stuart P. Feld. In Pointed Style: The Gothic Revival in America, 1800-1860. New York: Hirschl & Adler Galleries, 2006, pp. 98-99.
Note: The octagonal library table was a popular form during the Gothic Revival period of the 19th century and an important fixture in grand homes such as Lyndhurst Mansion in Terrytown, New York. The table shown here is the same overall form and proportions as a New York Gothic table held in the collection of the Metropolitan Museum of Art and features nearly identical carved panels along the frieze.
Ref.: Feld, Elizabeth and Stuart P. Feld. In Pointed Style: The Gothic Revival in America, 1800-1860. New York: Hirschl & Adler Galleries, 2006, p. 99; The Metropolitan Museum of Art. “Table.” Accessed Oct. 19, 2018.

414. American Aesthetic Inlaid Rosewood Cabinet, c. 1880, labeled "Herter Bros.", New York, red velvet-lined backsplash and back panel, galleried sides, demilune top, conforming lower shelf, center cabinet mounted with Japonesque brass and mother-of-pearl butterfly plaques flanked by open shelving, molded feet, h. 51 1/2 in., w. 78 in., d. 21 1/2 in. $7000/10000
Note: The sleek and stylish sideboard shown here is an exquisite example of the influence of Japanese taste within Herter Brothers furniture made during the Aesthetic Movement of the late 19th century. An important element of the Aesthetic style, cabinetmakers like the Herter Brothers firm embraced Asian design for its prominent use of naturalistic motifs. A synthesis of both Continental and Eastern form and embellishment, the present lot is closely related to a rosewood cabinet which also displays delicate floral inlay and decorative natural panels made from exotic materials, illustrated in Herter Brothers: Furniture and Interiors for a Gilded Age.
Ref.: Howe, Katherine S. et al. Herter Brothers: Furniture and Interiors for a Gilded Age. Houston: The Museum of Fine Arts, Houston, 1994, pp. 212-213.

415. Pair of American Rococo Carved and Laminated Rosewood Side Chairs, c. 1850-1860, attr. to John Henry Belter, New York, in the pattern commonly referred to as "Cornucopia", floral-carved reticulated crest, scrolled cornucopia stiles, round seat, floral apron, cabriole legs, acanthus feet, h. 37 in., w. 17 1/2 in., d. 20 in. $2500/4000
Provenance: Estate of Gordon and Vera Noakes, Detroit, MI.

416. French School, 19th/20th c., "Charleston Viewing Fort Sumter Repulsing 9 Iornsides [sic]", oil on canvas, titled and inscribed and French canvas stencil en verso, 24 3/4 in. x 40 in., framed. $5000/7000
Provenance: Estate of A. Leon Hebert; Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.
Note: After the secession of South Carolina from the Union in 1860, the United States military held Fort Sumter, located off the shores of Charleston, until South Carolina forces led by General P.G.T. Beauregard took the fort on April 13, 1861. Two years later, Union forces unsuccessfully attempted to retake the fort, using the ironclad frigate New Ironsides, the tower ironclad Keokuk, and the monitors Weehawken, Pasiac, Montauk, Patapsco, Nantucket, Catskill, and Nahant. The ships fired on the fort on April 7, 1863 into the night, which the artist depicts in this skillfully rendered canvas. As an eye witness, the artist would have had a wealth of knowledge regarding the placement of the ships, as well as the large group of Charlestonians who gathered to watch the bombardment.

417. Attributed to Abel Francois Lucas (French, b. 1813), "Gentleman" and "Lady", 1857, 2 oils on canvas, each signed and dated lower left and right respectively, 36 1/4 in. x 28 3/4 in., framed alike. (2 pcs.) $2000/3000
Provenance: William Groves Estate, New Orleans; Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.
Note: A French portraitist who exhibited in the Paris Salon between 1844 and 1869, Abel François Lucas' works depicted the French gentry in their finery, including the pendant portraits offered here. The husband and wife wear fashionable 1850s clothing, with her bell-sleeved dress with fringe and a cameo brooch particularly representative of the clothing styles of the time.

418. George III Sterling Silver Water Pitcher, John & Edward Edwards, London, 1811, mark reg. 1811, molded rims, scroll handle, ivory insulators, h. 7 7/8 in., wt. 30.20 troy ozs. $1000/1500

419. Victorian Sterling Silver Standish, Goldsmiths and Silversmiths Co. (William Gibson & John Lawrence Langman, London, 1889, mark reg. 1883, reticulated scrollwork gallery, fitted with two silver-mounted molded glass ink pots, hallmarked en suite, h. 3 5/8 in., l. 10 in., d. 6 1/8 in., wt. (weighable) 21.50 troy ozs. $700/1000

420. Good American Coin Silver Tea Set, William R. Eaton, John Gordon and William Bogert for Ball, Black and Co. (1856-1860, Newburgh, New York), dated June 24, 1858 and monogrammed "M.C.B" for Margaret Cyrilla (Brownson) Bisland (1839-1906), mistress of Fairfax Plantation, St. Mary Parish, Louisiana, incl. hot water urn, approx. h. 16 in.; teapot, approx. h. 11 in.; cream jug, approx. h. 16 in.; covered sugar bowl, approx. h. 9 1/2 in.; and waste bowl, approx. h. 5 3/4 in., each of slightly concave paneled ovoid form decorated with engraved rococo scrolls below morning glories, the whole with milled anthemion banding, lidded elements with cast and applied floral finials and crested handles; together with an associated English silverplate tray, approx. l. 30 1/2 in., approx. w. 20 1/2 in. (6 pcs.) $5000/7000
Provenance: Descended in the Bisland family; to the Terrebonne Historical and Cultural Society; New Orleans private collection.
Note: Margaret Cyrilla Brownson was born on September 30, 1839 in Brooklyn, New York, to Judge John Brownson and his wife, the former Caroline Penn Stelle. Although born in Brooklyn, she was of most decidedly Southern ancestry; her maternal grandmother and namesake was Margaret Cyrilla Watts (1775-1829) of Natchez, the wife of Manuel Gayoso de Lemos, Spanish governor of the Natchez district (1787-1797) and Louisiana (1797-1799). Margaret Brownson married Thomas Shields Bisland (1837-1909), a Natchez planter, in New York on June 24, 1858: the date inscribed on this set and doubtless the occasion of its presentation. (Six years earlier, her elder sister, Frances Ashton Bisland, had married Bisland's elder brother, John Rucker Bisland.) Thomas and Margaret moved to Fairfax Plantation in St. Mary Parish, a sugar concern formerly the property of Louisiana governor Joshua Baker (whose daughter had married yet a third Bisland brother). The 1860 census shows them to be a prosperous family, their worth recorded as $210,000. They had two surviving children before the start of the Civil War, in which Thomas served as quartermaster in the 26th Louisiana Infantry and later surgeon (he had been a medical student at the University of Pennsylvania before deciding to pursue the family planting business). Margaret Bisland and her children fled Fairfax, known as Camp Bisland during the war, before the April 12-13, 1863 Battle of Bisland. (The traditional shibboleth of southern silver being buried to protect it from the Yankees seems plausible here; Margaret and her children escaped to Natchez in an army ambulance, and although the camp was successfully defended, the battle raged even into the house itself!) After the war, Thomas and Margaret returned to a difficult life in Reconstruction Louisiana before inheriting the Bisland's Natchez property upon the death of Thomas' mother in 1873. There, Margaret supplemented the family's modest income composing piano works and writing poetry for the New Orleans Times-Democrat. She was known as "a woman of marked beauty and decided literary ability which under different circumstances might have brought her prominently into the world of letters." One of her poems, "Marguerite", was included in the anthology In My Lady's Name: Poems of Love and Beauty (New York: Putnam's, 1897). She died on January 7, 1906, pre-deceasing her husband by two years. A child of the couple, Elizabeth Ker (Bisland) Wetmore (1861-1929), would herself become a woman of letters, noted as a journalist and biographer of Lafcadio Hearn.

421. Gorham Coin Silver Coffee Service in the Neo-Grec Taste, c. 1863-1865, retailer's mark rubbed, incl. 2 coffee pots, covered sugar and creamer, each with pineapple finial, Greek key borders and beading, coffee pot h. 11 5/8 in., total wt. 104.50 troy ozs. $2000/3000
Provenance: Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.

422. Important New Orleans Coin Silver Presentation Pitcher and Goblet, Adolphe Himmel (1825/6-1877) for Hyde & Goodrich, wc. 1853-1861, c. 1860, incised mark "H" between "Hyde & Goodrich" in arc and "New Orleans" in arc, the pitcher engraved in high relief with central cartouche surrounded by flowers; the goblet engraved in high relief with four shield-shaped cartouches separated by high relief floral garlands, both inscribed "Presented to Maj. GenL. N.P. Banks, Com dg Dept of the Gulf, by the Teachers and Pupils of the Public Schools of New Orleans, Jefferson City, Gretna and Algiers" and "Commemorative of the Capture of Port Hudson, July 8, 1863", pitcher h. 9 5/8 in., goblet h. 6 1/2 in., combined total wt. 34.8 ozs. $12000/18000
Provenance: Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.
Note: General Nathaniel P. Banks succeeded the notorious General Benjamin F. "Spoons" Butler as Commander of the Department of the Gulf in late 1862 and would remain in that position until fall of 1864.
These presentation pieces honor Banks for his army's capture of the Confederate garrison at Port Hudson on July 8, 1863, and were presented by the teachers and pupils of the public schools of the New Orleans area. That same month, Banks had ordered his Chief Quartermaster to turn over all books and engravings captured by the Army to the New Orleans Public School Libraries. Daily Picayune, August 1, 1863, p.1.
The Daily Picayune of August 16, 1863 reports an event honoring Banks which was hosted by the Union school teachers and school children at The Lyceum. The Hall is described as "richly draped with flags, garlands and evergreens, and the name of Gen. Banks, with the victories achieved by him, appeared in living green upon the walls." The Daily Picayune also reports the presentation of "a silver salver, tankard and goblet." Daily Picayune, August 16, 1863, p. 3. The presentation pitcher and goblet offered here are almost assuredly that "tankard and goblet."
Notwithstanding the plaudits Banks received in New Orleans in the summer of 1863, the latter part of his career there would be overshadowed by the failure of the Red River Campaign and his army's defeat by Major General Richard Taylor (son of President Zachary Taylor) at the Battle of Mansfield.
Hallmarks on the Banks pitcher and goblet indicate manufacture in 1861 or prior: the Hyde & Goodrich partnership was dissolved in 1861, with the remaining partners forming a new partnership, Thomas, Griswold & Co. The pitcher and goblet could, like the books and engravings, have been "captured". Crescent City Silver. The Historic New Orleans Collection, New Orleans, 1980. pp.4-5.

423. Art Nouveau Gorham Sterling Silver Ewer, c. 1900, ret. Spaulding & Co., Chicago, act. 1888-1973, marked with Gorham trademark, "STERLING", "NCM" and "SPAULDING & CO./CHICAGO.", decorated with iris and iris foliage, h. 16 1/8 in., wt. 45 troy ozs. $1200/1800

424. Good American Aesthetic Movement Sterling Silver Tyg, Theodore B. Starr, New York, wc. 1890-1924, h. 6 1/2 in., wt. 16.95 troy ozs. $600/800

425. Rare American Coin Silver Marrow Scoop, Teunis Denyse Dubois, New York, wc. 1794-1820, l. 8 3/8 in.; together with a silver marrow scoop, probably late 18th/early 19th c., maker "IB" maker untraced, bright-cut decoration, l. 8 1/2. $500/1000

426. New Orleans Coin Silver Fiddlethread Flatware, ret. A.B. Griswold & Co., New Orleans, wc. 1865-1906, made by Wood & Hughes, New York, wc. 1845-1899, incl. 7 table forks, l. 8 1/8 in., 5 tablespoons, l. 8 3/4 in. and teaspoon; together with 2 fiddlethread tablespoons (single faced) ), R. & W. Wilson, Philadelphia, wc. 1825-1846, l. 8 1/2 in.; total wt. 26.85 troy ozs. $500/1000

427. Six New Orleans Coin Silver Fiddlethread Tablespoons, ret. E.A. Tyler, wc. 1838-1879, New Orleans, made by Henry Hebbard, New York, wc. 1835-1870, l. 8 3/8 in., wt. 11.80 troy o. $300/500

428. Six New Orleans Coin Silver Fiddle Typt Dessert Spoons, E.A. Tyler, wc. 1838-1879, New Orleans, marked "E. A. TYLER." In rectangle and "NEW ORLEANS." in rectangle, l. 7 1/4 in.; together with 3 fiddle typt forks, Marquand & Co., New York, wc. 1833-1839, l. 8 1/16 in.; combined wt. 13.10 troy ozs. $300/500

429. Group of Anthony Rasch (c. 1780-1858, act. Philadelphia c. 1801-1820, New Orleans 1820-1858) Coin Silver Spoons, incl. 3 fiddleback tablespoons, marked "A.RASCH" in rectangle and "N.ORLEANS" in rectangle, l. 8 5/8 in.; and fiddle typt soup spoon, marked "A.RASCH." in rectangle, l. 8 1/8 in.; combined wt. 7.35 troy o. $200/400

430. Group of James Conning, Mobile, Coin Silver Flatware, most marked "J.CONNING" in rectangle and "MOBILE" in rectangle, incl. 5 fiddle typt dessert forks, l. 6 3/4 in.; 8 fiddle typt dessert spoons, l. 6 1/8 in.; fiddle back soup spoon, l. 7 1/4 in.; fiddlethread tablespoon, l. 8 1/8 in., 2 teaspoons and demitasse spoon (Wood & Hughes, ret. Conning); combined wt. 19.90 troy ozs. $400/600

431. Two Tennessee Coin Silver Fiddlethread Tablespoons, F.H. Clark & Co., Memphis, c. 1860, l. 8 5/8 in. $200/400
Ref.: Caldwell, Benjamin Hubbell. Tennessee Silversmiths. pp. 62-63, mark illus. p. 63.

432. American Coin Silver Fiddle Back Soup Ladle, marked "W.&.B" and with pseudo hallmarks, reverse typt, engraved script monogram, l. 13 1/4 in., wt. 8.25 troy ozs. $250/350

433. New Orleans Coin Silver Fiddlethread Soup Ladle, ret. A.B. Griswold, New Orleans, wc. 1865-1906, made by Wood & Hughes, New York, wc. 1845-1899, engraved shield with monogram, l. 11 1/8 in., wt. 6.70 troy ozs. $300/500

434. Good American Sterling Silver Tea and Coffee Service, Durgin Division of Gorham, date marks for 1928-1931, incl. kettle-on-stand, teapot, coffee pot, open sugar, creamer, waste bowl and tray, melon-form bodies with flat chased decoration, woven raffia handles and period strapwork monograms, kettle h. 14 1/2 in.; tray 26 5/8 in. x 17 5/8 in., total wt. 265.65 troy ozs. $2500/3500

435. Georgian Sheffield Plate Tea Tray, early 19th c., gadroon border and handles with scallop shells, inset silver shield with engraved crest, l. 26 1/4 in., w. 17 1/8 in. Note: Old solder repairs. $300/500
Provenance: Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.

436. Group of Five Georgian Sterling Silver "Old English" Pattern Stuffing Spoons, incl. late 1770s example, marks rubbed, possibly William Grundy, crested; Richard Crossley, 1793; Peter and Ann Bateman, 1794; Peter and Ann Bateman, 1797; and Richard Crossley, 1798, crested; lengths 11 in. to 12 1/2 in., combined wt. 16.25 troy ozs. $400/600

437. Group of Late Georgian Sterling Silver Serving Pieces, most in "Downturned Fiddle" pattern, incl. stuffing spoon, possibly William Sumner II, London, 1826, l. 12 1/4 in.; gravy ladle with engraved script monogram, marks rubbed, l. 7 1/4 in.; gravy ladle with engraved crest, William Eley, William Fearn & William Chawner, London, 1809, l. 6 3/4 in.; gravy ladle with engraved script monogram, James Beebe, London, 1830, l. 6 3/4 in.; large serving fork with upturned fiddle handle, William Eaton, London, 1832, 9 1/2 in.; and berry spoon with Old English downturned handle, late 18th c. with later decoration, marks rubbed, l. 8 in.; combined wt. 14.10 troy ozs. $300/500

438. Antique Charles X Carved Giltwood Convex Mirror, deeply molded frame, convex mirror plates interspersed with Classical relief carved elements, h. 23 1/2 in., w. 22 in. $400/600

439. Louisiana Cherrywood Petite Armoire, early 19th c., later stepped cornice, paneled doors, fiche hinges, shelf interior fitted with a single drawer, cabriole legs, h. 74 in., w. 45 in., d. 21 1/2 in. $4000/6000

440. American Late Federal Mahogany Games Table in the Sheraton Taste, early 19th c., Philadelphia, shaped reeded edge top, highly figured frieze, turned, reeded tapered legs, button feet, h. 28 1/2 in., w. 38 1/2 in., d. (closed) 18 in., d. (open) 35 in. $700/900

441. Mexican/Yucatan Inlaid Tropical Hardwood Butaquito, 19th c., arched crest with lozenge inlay, curule base, stretchers, original leather upholstery, h. 23 1/4 in., w. 18 in., d. 25 1/2 in. $500/1000
Provenance: Don Goudeau and Larry Souchon "The Golden Owl", 1976.

442. American Federal Inlaid Mahogany Sideboard, c. 1810, shaped top, conforming case with three frieze drawers and two lower cabinet doors flanked by two deep side compartments, tapered legs, h. 39 in., w. 66 1/2 in., d. 26 in. $2500/3500
Provenance: Estate of Gordon and Vera Noakes, Detroit, MI.

443. Fine American Late Federal Paint-Decorated Writing Arm Windsor Chair, early 19th c., shaped crest rail, bamboo-turned spindles, stiles and arms, large writing arm, plank seat, splayed legs, stretchers, h. 38 1/8 in., w. 35 1/4 in., d. 31 in. $200/300

444. Fine American Federal Inlaid Mahogany Games Table, c. 1820, possibly Thomas Seymour, Boston, shaped foldover top, conforming frieze, turned and reeded legs, one swing leg, turned feet, h. 29 1/4 in., w. 37 3/4 in., d. (closed) 18 1/2 in., d. (open) 37 in. $1500/2500
Provenance: Estate of Gordon and Vera Noakes, Detroit, MI.

445. Louis XVI-Style Carved Fruitwood Settee, 19th c., beribboned oval back, acanthus scrolled arms, serpentine swagged seat rail, acanthus carved legs, h. 38 in., w. 46 in., d. 22 in. $1000/1500

446. Antique French Provincial Fruitwood and Walnut Vaisselier, 18th c. and later, upper section with plate rails, shoe feet, base with two drawers over cupboard doors, cabriole legs, h. 79 1/2 in., w. 52 5/8 in., d. 24 1/2 in. $800/1200

447. Italian Neoclassical Walnut Dressing Table, 18th c., serpentine lift top, fitted interior well, one long drawer and two side drawers, cabriole legs, h. 33 in., w. 39 1/2 in., d. 25 1/4 in. $1200/1800

448. Alexander John Drysdale (American/New Orleans, 1870-1934), "Cypress Trees in the Bayou", 1932, oil on canvas laid on board, signed and dated lower right, 15 in. x 9 1/4 in., framed. $4000/6000

449. Knute Heldner (Swedish/New Orleans, 1877-1952), "French Market, New Orleans", oil on canvas, signed lower right, "Tweed Museum of Art" exhibition label en verso, 30 in. x 36 in., framed. $10000/15000
Provenance: Tezcuco Plantation.
Exh.: "Knute Heldner: A Retrospective Exhibition", Oct. 12-Nov. 16, 1980, Tweed Museum of Art, University of Minnesota, Duluth, MN.
Note: Among the largest and most complex of Knute Heldner’s canvases, this French Market scene was painted from Dumaine Street in the French Quarter, looking east toward the Faubourg Marigny. The fresh, white palette and brightly colored clothing of the shoppers create an ebullient atmosphere. The composition, combining the historic buildings and horse-drawn cart with modern cars on the street, beautifully highlights the synthesis of old and new in quotidian French Quarter life. From the inclusion of the cupolas on top of the buildings, this painting is dated to after the Public Works Administration renovations in the late 1930s. The French Market, which has a long and vivid history, originally was comprised of a group of markets, each selling a certain type of food or dry goods. Although damaged or destroyed by storms or fires many times over the years, the markets were always immediately rebuilt, indicating the vital importance of these buildings in the New Orleans community. The renovation of the late 1930s demolished many of the nineteenth century structures, some of which had been badly damaged in a hurricane in 1915. A later renovation of the 1970s significantly changed the style of the French Market, as well as altering the footprint of the market complex.

450. John Genin (French, 1830-1895), "Spirit of Louisiana", 1884, oil on canvas, signed and dated lower right, "The Charleston Renaissance Gallery, Charleston" label with artist and title on backing, 44 1/4 in. x 22 1/4 in., framed. $15000/25000
Provenance: Jay P. Altmayer Collection, Mobile, AL; Neal Auction Company, Oct. 2, 2004, lot 749; Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.
Ill.: Pennington, Estill Curtis. Downriver: Currents of Style in Louisiana Painting 1800-1950. Gretna, LA: Pelican Publishing Company, 1991, p. 132.
Note: Known primarily as a portraitist, John Genin developed his painting technique while under the tutelage of renowned Parisian portraitist Leon Bonnat. Genin's skills at portraiture, as well as the stylistic evidence of Neoclassicism and Romanticism, are particularly evident in his allegorical paintings representing Louisiana. Genin painted at least three of these works, with the important painting offered here likely the penultimate version created in 1884. The artist utilized his adept portraiture skills to portray a goddess (modeled by his second wife) standing amidst a lush, bayou landscape while bare-breasted and adorned with Spanish moss draped from her hair and waist.

451. François Bernard (French/New Orleans, 1812-1875), "Portrait of Madame Jules Arnaud Blanc, née Mary Inskeep Palfrey (1828-1887)", 1859, oil on canvas, signed and dated mid-right, 41 1/2 in. x 32 in., framed. $2000/3000
Provenance: Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.
Note: A second marriage for both the bride and groom, Mary Inskeep Palfrey and Jules Arnaud Blanc were married in New Orleans in 1856. Blanc, whose ancestors had intermarried with the Labatut family, spent his childhood in the familial home, the Evariste Blanc House, on Bayou St. John, now the parish rectory of Our Lady of the Rosary Parish. He owned a brickyard, as had his father, and was president of the State National Bank. The couple is buried in Lafayette Cemetery Number 1.
This beautifully rendered portrait of Madame Blanc bears a striking resemblance, with its deep red background, to Bernard’s portrait from only a year prior of Jeanne Roman de la Villebeuvre (sold in these rooms November 23, 2013). Both women wear classic antebellum dresses, and Madame Blanc’s sheer, black lace sleeves are accented by the gold of her jewelry and the black lacquered and gilt-decorated side table included in the composition.
Ref.: Heidari, Melissa Walker, ed. Grace King in Her Journals, 1886-1910. Athens, GA: University of Georgia Press, 2004.

452. West Indies Carved Acajou Moucheté Mahogany Armoire, late 18th c., in the Louis XV taste, cove-molded cornice, flush paneled doors, fiche hinges, mahogany interior with shelves and a medial belt of drawers, scalloped apron, cabriole legs, h. 87 in., w. 59 1/2 in., d. 21 1/2 in. $10000/15000
Provenance: Robert Smith, Au Vieux Paris Antiques, Breaux Bridge, LA, Sept. 2004.
Note: The elegant acajou moucheté or “plum pudding” mahogany armoire shown here is closely related to a West Indies armoire that belonged to Louisiana governor Jacques Villeré and was brought to Louisiana as early as 1782. In the Louis XV taste, the armoire here and the Villeré armoire both feature the distinctively figured acajou moucheté mahogany, a similar cove-molded cornice, the same flush panel door construction, and cabriole legs.
Ref.: Holden, Jack D. et al. Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835. New Orleans: The Historic New Orleans Collection, 2010, pp. 133-134.

453. American Classical Figured Mahogany Tilt-Top Table, c. 1820, attr. to John Needles, Baltimore, beehive-turned standard, saber legs, brass paw feet, casters, h. 53 1/2 in. (tilted), h. 29 3/4 in., dia. 41 1/4 in. $3000/5000

454. José Francisco Xavier de Salazar y Mendoza (Mexican/New Orleans, c. 1750-1802), "Portrait of a New England Gentleman", oil on canvas, unsigned, 40 1/4 in. x 31 1/4 in., framed. $12000/18000
Note: The canvas offered here by Jose Francisco Xavier de Salazar y Mendoza, reputedly acquired by a Maine collector from an estate in Newburyport, Massachusetts, features a handsome gentleman in a late 18th century-style frock coat and cravat. The work typifies the archetypal portrait Salazar painted at the turn of the 18th century with its telling red ochre background as well the characteristic pose and composition often used by the artist. Salazar was known to have painted top military figures, sea captains, and wealthy merchants, many of whom had come to New Orleans from other locales for business and political purposes. The portraits were frequently sent back to the prominent families in the Northeast from which the sitters originated, likely the history of this work.
The standing portrait at waist-length with one hand in the sitter’s coat had become an iconic pose by the late 1700s, and Salazar implemented it often for his prominent sitters. Three known paintings by Salazar, Colonel Thomas Butler, Jr., sold in these rooms in February 2017, Miguel Dragon, located at the Louisiana State Museum, and the Portrait of a Bristol, Rhode Island Gentleman, all have nearly identical poses, as well as the same trompe l’oeil painted oval seen in the painting offered here.
Ref.: Gontar, Cybèle T.Salazar: Portraits of Influence in Spanish New Orleans, 1785-1802. New Orleans: Ogden Museum of Southern Art, 2018.

455. Rare New Orleans Bronze Bell, marked "C.H. SLOCOMB & CO/NEW ORLEANS/1860", original yoke and wheel, later standard, dia. 18 in.; accompanied by CDV of Capt. C.H. Slocumb. $30000/50000
Note: Samuel Bannister Slocomb of Maryland started his business career at the Rogers Hardware store in Philadelphia in the early 1800s. After proving himself in the trade, he moved to New Orleans and help established a hardware store by the name of Rogers, Slocomb & Co., which in some years became Slocomb and Co.
Samuel died in 1834 when his son Cuthbert Harrison Slocomb was only three. Eventually, Cuthbert took control of the family hardware store. By 1861 he was a prominent citizen of the city with significant land ownership and an active businessman, serving as the director of the Bank of Louisiana and the New Orleans Water Works as well as First Vice President of the Mechanical & Agricultural Assoc. of LA. His hardware business was suspended during the Civil War when he joined the Confederate army in 1861, rising in rank from Assistant Quartermaster of the Second Company, Washington Artillery, to First Lieutenant of the 5th Company, the latter unit assigned to the Confederate Army of Tennessee and engaged in several major battles throughout the war. Wounded in April 1862 at Shiloh, Slocomb was promoted to captain and given the command of the company. On September 1, 1864, Captain Slocomb was seriously wounded at Jonesboro and was hospitalized in South Carolina. Slocomb returned to the regiment in December 1864 and remained with the regiment for the defenses of Mobile and Spanish Fort until the end of the war.
After the war, Slocomb resumed his work at his hardware business C. H. Slocomb & Co., which a few years later became Slocomb, Baldwin & Co. with the addition of partner Albert Baldwin. And finally, in 1873, the firm became A. Baldwin & Co.
Slocomb was a dealer in livestock, particularly horses and helped build a race course in New Orleans. He was active in Metairie Jockey Club, the Louisiana Jockey Club, the Pickwick Club, and served as Director of Equitable Life Insurance Company. He died in 1880. His daughter Cora was Queen of Rex and married Count di Brazza-Savorgnan of Italy.
This bronze bell was reported to be used at his store on 74 Canal St and was spared from being melted for use in Confederate cannons made at either Leeds or John Clark foundries. Considering Slocomb was a well-respected businessman in the city, it is quite possible that this bell was made at one of these New Orleans foundries in 1860. Both were known to do work in both iron and bronze.

456. Suite of Antique Cast Iron Garden Furniture, 19th c., after a model by Karl Friedrich Schinkel, incl. settee and 2 armchairs, cornucopia crest rail, rams' head arm terminals and hoof feet, settee h. 29 1/2 in., w. 43 in., d. 16 in., armchair h. 30 in., w. 24 in., d. 16 in. $3000/5000
Provenance: Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.

457. Set of Six Antique English Lead Planters, 19th c., shaped body with urns and arched side, h. 15 in., w. 15 in., d. 12 in. $500/1000
Provenance: Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.

458. Pair of Antique American Cast Iron Planters, 19th c., rectangular with case wreaths and anthemion feet, now in green paint, h. 14 in., w. 28 in., d. 14 in. $500/800
Provenance: Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.

459. New Orleans Mahogany Regulator Wall Clock, c. 1860, dial marked "TELL TALE CLOCK PATENDED BY Slas. FOURNIER/NEW ORLEANS" pinwheel escapement, lyre pendulum, h. 65 in., w. 24 in., d. 22 in. $8000/12000
Provenance: Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.
Note: Clockmaker Stanislaus Fournier came to New Orleans from France in 1841 or 1842. His pre-eminent shop at 60 Royal Street was a French Quarter landmark.
Fournier’s accomplishments include the three-faced church clock installed at St. Louis Cathedral in 1851, the development of a four-hand stopwatch for horse racing in 1855, and the invention of a “tell-tale” register clock in 1857. Fournier died in 1853 and is buried in New Orleans’ St. Louis Cemetery No. 1, Vault 24.
Ref.: Kinabrew, J.M. “Stanislaus Fournier, New Orleans Clock and Watch Maker”, National Association of Watch and Clock Collectors Bulletin, April 1997, pp. 189-192.

460. Eugene Loving (American/Louisiana, 1907-1971), "Plantations", 16 ink drawings on paper, 13 signed lower right, 3 signed lower left, each with "Magnolia Engraving Co" printing order and instruction form, 4 with "Magnolia Engraving Co Received 1949" stamp and 13 with plantation names en verso, plantations include Dunleith, Versailles, Evergreen, Live Oak, Belle Chase, Oak Alley, Berthoud, Longfellow, Melrose, Oakley, Wakefield, Madewood, Rosebank, and 3 others, 5 3/4 in. x 6 in. to 7 in. x 10 1/4 in., all unframed in binder. (16 pcs.) $1200/1800
Note: Arriving in New Orleans during the Great Depression, Eugene Loving helped to revive the art form of etching that had somewhat lost favor in the United States at the time. His favorite subjects were the French Quarter and environs surrounding the city, where he traveled to produce the preparatory drawings for his prints. His works have a spontaneity of line that enlivens the architectural scene. This rare collection of original drawings offers a unique window into the artist's process.
Ref.: Sartisky, Michael, J. Richard Gruber and John R. Kemp. eds. A Unique Slant of Light: The Bicentennial History of Art in Louisiana. Jackson: University Press of Mississippi, 2012.

461. Alexander John Drysdale (American/New Orleans, 1870-1934), "Monumental Louisiana Bayou Lunette (Black River Country)", oil on canvas, signed lower right, 36 in. x 72 1/4 in., framed. $30000/50000
Provenance: D.H. Holmes Department Store, New Orleans.
Note: Alexander Drysdale's large canvases were most often commissions, as in the case of the Shushan Airport and the Weiss Dining Room murals. The monumental and exceedingly rare lunette offered here was part of a group of paintings commissioned by the D.H. Holmes department store. In 1927, the president of D.H. Holmes, Frederick W. Evans, asked Drysdale to paint twenty-two special canvases of mural size to display in the store. The paintings hung in the restaurant at the store for many years until Drysdale’s death, when they were put on exhibition in the store’s riverside window. This work, with its attractive half-moon shape and iconic oak trees near the water, is a classic example of Drysdale at his very best. The reflections of the trees and sky on the water with a high horizon line and sizeable foreground are particularly well-painted and make for an interesting composition.
Ref.: Buechner, Howard A. Drysdale: Artist of Myth and Legend. Metairie, LA: Thunderbird Press, 1985.

462. Ellsworth Woodward (American/New Orleans, 1861-1939), "A Courtyard. Toulouse St., New Orleans, La.", 1917, watercolor on board, signed and dated lower left, titled and heavily inscribed en verso, 15 3/8 in. x 20 5/8 in., framed. $3000/5000
Note: The iconic courtyard at the Governor Claiborne home at 628 Toulouse Street, with its notable arches, curved staircase, and fan window, has been depicted by many New Orleans artists, including Clarence Millet, Eugene Loving, and Alberta Kinsey. Kinsey, who rented an apartment and studio in the home, painted many varied scenes of the building; additionally, she hosted the first official meeting of the group that would become the Arts and Crafts Club. Ellsworth Woodward, whose drawings and paintings of French Quarter scenes have served to preserve the history of the neighborhood, certainly would have spent time sketching in the courtyard of the Governor Claiborne Home. In the watercolor offered here, Woodward’s light brushstrokes in primary colors blend together to create a colorful scene detailing the architecture of this historic courtyard.

463. Gifford Beal (American, 1879-1956), "Street Scene, Bermuda", watercolor and pencil on paper, signed lower right, titled and inscribed en verso, sight 9 1/2 in. x 13 1/2 in., framed. $800/1200

464. Laura Woodward (American/Florida, 1834-1926), "Silver Springs", watercolor on paper, signed lower left, 10 5/8 in. x 17 1/4 in., framed. $2000/3000

465. Ellsworth Woodward (American/New Orleans, 1861-1939), "Springtime Landscape", 1909, watercolor on paper, signed and dated lower left, 10 1/2 in. x 13 3/4 in., framed. $1500/2500
Provenance: Henry Plauché Dart (1853-1934), thence by descent; Estate of Jane and Stewart Maunsell.

466. Dox Thrash (American, 1893-1965), "Washwoman", 1937, watercolor on paper, signed and dated lower left, 13 1/2 in. x 9 1/2 in., framed. $3000/5000

467. William Henry Buck (Norwegian/New Orleans, 1840-1888), "Live Oak on a Louisiana Bayou", 1880, oil on canvas, signed and dated lower right, "W.E. Seebold" label on reverse of frame, 10 in. x 14 in., framed with artist plaque. $30000/50000

468. Joseph Jefferson IV (American/Louisiana, 1829-1905), "Landscape with Horse-Drawn Cart", oil on canvas, signed lower right, 20 in. x 30 in., framed. $2500/3500
Note: Joseph Jefferson IV was known as an actor in a multi-generational family of actors and was best known for portraying Rip Van Winkle in Dion Boucicault’s adaptation of Washington Irving’s short story. He, like his father and grandfather, painted in his spare time and collected the work of the nineteenth-century Barbizon and Dutch School landscape painters. The painting offered here depicts a horse-drawn wagon along a country path with pastures, fences and a barn in the distance. An avid hunter, Jefferson visited Louisiana on several occasions. In 1896, he purchased Orange Island, a six hundred acre salt dome in Iberia Parish. There he built a retreat and enjoyed his favored pastime of painting the surrounding swamps and bayous. Jefferson developed a technique of laying in the colors with brushes and then manipulating the surface with his fingers, palette knife, rags, feathers and/or blotting paper. Later in his life, Jefferson moved to Palm Beach, Florida where he continued to paint, focusing on the rural and undeveloped landscape of South Florida at the turn of the century.

469. Attributed to George David Coulon (French/New Orleans, 1822-1904), "Louisiana Bayou Landscape", oil on canvas, unsigned, 10 in. x 14 in., framed. $4000/6000

470. Southern School, 19th c., "Evening in the Tropics", oil on canvas, illegibly signed "G.All...d" lower left, 22 in. x 36 in., framed with title plaque. $3000/5000
Provenance: Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.

471. August Norieri (American/Louisiana, 1860-1898), "Two Sharecroppers", 1891, oil on academy board, signed and dated lower right, collector labels on previous backing paper, 12 1/4 in. x 9 3/8 in., framed. $5000/8000
Provenance: Dr. and Mrs. James W. Nelson Collection.
Exh.: "August Norieri, 1860-1938", Louisiana State Museum, New Orleans, Sept. 21-Oct. 18, 1970, and listed in the accompanying catalogue, no. 40, p. 28.
Note: August Norieri spent his relatively short career painting primarily marine scenes and, most notably, the elaborate steamboats or “floating palaces” that were quickly becoming obsolete with the expansion of rail transportation. The rare painting offered here is a remarkable example of a departure from Norieri’s typical marine genre. This work, perhaps inspired by that of William Aiken Walker who lived and worked in New Orleans concurrently, sensitively portrays two figures at the forefront of a cotton field.
Ref.: Dobie, Ann. "August Norieri." Encyclopedia of Louisiana. Louisiana Endowment for the Humanities. Sept. 12, 2012. Accessed Oct. 17, 2018.

472. Will Henry Stevens (American/Louisiana, 1881-1949), "On the Old Basin", oil on board, signed lower left, titled en verso, 15 3/4 in. x 11 3/4 in., framed. $2000/3000
Note: Will Henry Stevens had many seemingly contradictory influences on his work: traditional Southern landscape painting, Taoist Philosophy, Paul Klee and Wassily Kandinsky. He also worked in similarly contrasting styles of painting simultaneously, one that was based on the then current theories of abstraction and the other that was firmly rooted in lyric realism - he was equally comfortable working in both. Unlike most modernists of his day, as Stevens moved toward a more spiritual abstraction, he never abandoned realism and drew constant inspiration from his surroundings. The waterways of New Orleans were one of his favorite subjects. The charming painting offered here depicts the Old Basin Canal (originally named the Carondelet Canal and built in 1794), before it was filled in 1927.
Ref.: Gruber, J. Richard. “Will Henry Stevens.” Encyclopedia of Louisiana. Louisiana Endowment for the Humanities. Sept. 11, 2012.

473. Alberta Kinsey (American/New Orleans, 1875-1952), "Courtyard Scene (Flowers)", double-sided oil on canvas, signed lower right, 19 3/8 in. x 23 3/4 in., framed. $2500/3500

474. Hermann Ottomar Herzog (German/American, 1832-1932), "Girl Feeding Chickens along a Wooded Path", oil on canvas laid on board, signed lower left, 29 in. x 44 in., framed. $12000/18000
Note: In his late twenties, the important artist Hermann Herzog immigrated to the United States where he would travel extensively, capturing the diverse landscapes from the mountains of Yosemite to the Florida marsh lands with his brush.
The painting offered here is a pastoral of a young girl feeding chickens on a path in the woods. In the shade of a tree, a traveler on a horse observing the view before him. Herzog displays his extraordinary ability to capture the variations in light and shadow filtering through the foliage as well as the individual leaves and blades of grass that surround the composition. The open, illuminated foreground focuses the viewer towards this delightful rustic moment.

475. Joseph Rusling Meeker (American, 1827-1889), "Bayou Field with Campsite at Dusk under a Crescent Moon", 1885, oil on canvas laid on masonite, signed and dated lower left, "Saint Louis Art Museum" label with title en verso, 13 5/8 in. x 23 5/8 in., framed. $15000/25000
Provenance: Ex-collection of the Saint Louis Art Museum, St. Louis, MO.
Note: Landscape painter Joseph Rusling Meeker is known for his panoramic views of Louisiana bayous and detailed depictions of moss-laden cypress trees. The work offered here is a sublime example of a Meeker landscape, unique in the lexicon of the artist’s oeuvre. A group of hunters rests at the end of a ridge in the middle of a bayou, contemplating the sunset and fiery clouds - indicative of Meeker’s finest work.

476. Alexander John Drysdale (American/New Orleans, 1870-1934), "Louisiana Oak", 1914, oil on academy board, signed and dated lower left, "Avery Gallery" label on frame, 12 in. x 18 in., framed. $3000/5000

477. Marie Madeleine Seebold Molinary (American/New Orleans, 1866-1948), "Still Life of Chrysanthemums in a Vase", 1889, oil on canvas, signed and dated lower left, 20 in. x 26 in., framed. $4000/6000
Provenance: Neal Auction, Dec. 9, 1995, lot 561.

478. George Frederick Castleden (British/American, 1861-1945), "The Cabin Row and Bell of Plantation Days, Louisiana", 1926, watercolor on paper, signed and dated lower left, titled en verso, 11 in. x 14 in., matted. $1000/1500

479. George Frederick Castleden (British/American, 1861-1945), "San Juan Capistana, Texas", 1925, watercolor on paper, signed and dated lower left, titled en verso, 11 7/8 in. x 15 in., matted. $1000/1500

480. Clarence Millet A.N.A. (American/Louisiana, 1897-1959), "Plantation Home - Moonlight", oil on canvas, signed lower left, signed and titled en verso, 22 in. x 26 in., framed. $12000/18000

481. Rare Mirrored Parlor Panel from New Orleans Madame Josie Arlington's House of Leisure, 19th c., leaded framework, inset with beveled and textured mirrors, now in a modern wood frame, accompanied by a copy of a statement on how it was acquired, h. 25 1/2 in., w. 76 in., d. 3 1/2 in. $2500/3500
Note: Josie Arlington (1864-1914), born Mary Deubler, ran the most famous and luxurious brothel in New Orleans' famed Storyville. The mansion had several theme-decorated parlors including Turkish, Vienna, and Japanese. The panel offered here came from the opulent Hall of Mirrors.

482. Louis Xavier Magny (French/New Orleans, 1800-1855), "Ancienne Cathédrale de la Nouvelle Orléans", c. 1849, lithograph, 9 1/2 in. x 12 3/4 in., framed. $1000/1500
Ref.: Poesch, Jessie J. Printmaking in New Orleans. Jackson, MS: University Press of Mississippi and The Historic New Orleans Collection, New Orleans, 2006, p. 131.

483. Historical Political Cartoon Depicting President Andrew Jackson and King Louis Philippe, c. 1836, hand-colored lithograph, sight 15 in. x 18 3/4 in., framed. $500/700

484. After John Andrew (American/Boston, 1815-1875), "Battle of New Orleans", hand-colored lithograph, signed in plate lower right, pages 8 and 9 from Ballou's Pictorial Drawing-Room Companion, Jan. 5, 1856 edition, published by M.M. Ballou, Boston, sheet 15 3/4 in. x 22 in., framed. $300/500

485. Morris Henry Hobbs (American/New Orleans, 1892-1967), "The Snowball Man, Gov. Nicholls St. (#FQ-1)", 1939, "Spinning Tops, Burgundy St. (#FQ-11)", 1940, "Napoleon House, Old New Orleans (#FQ-2)", 1939, "The Cabildo, Old New Orleans (#FQ-3)", 1939, "The Patio Royale, Old New Orleans (#FQ-8)", 1939, and "The Shotgun House, Old New Orleans (#FQ-10)", 1943, 6 etchings, each pencil-signed and titled lower margin, 3 dated in plate, 2 1/2 in. x 2 3/4 in. to 3 in. x 3 in., framed alike. (6 pcs.) $1200/1800
Provenance: Descended in the family of the artist.

486. Alfred Hutty (American/Charleston, 1877-1954), "On the Way Home", etching, pencil-signed lower right, sheet 6 3/4 in. x 6 7/8 in., framed. $800/1200

487. Marion Greenwood (American/New York, 1909-1970), "Dancing", lithograph, pencil-signed lower right, 14 in. x 22 3/4 in.; and "Haitian Girl", lithograph, pencil-signed lower right, inscribed "Ed. 250" lower left, titled en verso, 17 7/8 in. x 13 in., one matted. (2 pcs.) $500/700

488. Olive Leonhardt (American/New Orleans, 1895-1963), "Calle Mañana", c. 1935-39, oil on canvas, signed lower right, 24 in. x 19 in., original frame. $8000/12000
Provenance: Descended in the family of the artist.
Exh.: Solo exhibition, Charles Morgan Gallery, New York, NY, Mar. 27-Apr. 15, 1939; “Drawn and Quartered: Olive Leonhardt, 1939 Revisited,” Hermitage Museum and Gardens, Norfolk, VA, Nov. 29, 2012-Feb. 19, 2013; “Mexico in New Orleans: A Tale of Two Americas,” LSU Museum of Art, Baton Rouge, LA, May 5-Aug. 30, 2015; “From New Orleans to Mexico and Back: Modernist Paintings by Olive Leonhardt,” Lauren Rogers Museum of Art, Laurel, MS, Apr. 23-Aug. 27, 2017.
Ill.: Pfohl, Katie A., Mexico in New Orleans: A Tale of Two Americas, LSU Museum of Art, 2015, p. 63.
Zohn, Kristen Miller, From New Orleans to Mexico and Back: Modernist Paintings by Olive Leonhardt, Lauren Rogers Museum of Art, 2017, p. 8.
Note: New Orleans artist Olive Leonhardt studied art at Newcomb College in 1914-15, and the following year attended the School of Fine and Applied Arts (later to become Parsons) in New York. She returned to New Orleans, getting a job at D.H. Holmes department store doing graphics. She shared a studio with Caroline Durieux in the French Quarter beginning in 1921 and was an active member of the Arts and Crafts Club. Leonhardt’s illustration art was all over New Orleans, appearing in periodicals, magazines, literary journals, on posters and stage sets. She hosted a salon at her Uptown home in the 1920s where artists and writers such as William Spratling, Natalie Scott, Weeks Hall and Lyle Saxon among others were guests.
Leonhardt first visited Mexico in 1930 and became enamored with the art and people of the country. She traveled there many summers during the 1930s and 1940s, visiting Taxco, Cuernavaca, Oaxaca, and Orizaba. Through her connection with William Spratling, she met artists Rufino Tamayo and Diego Rivera during her first trip there. Leonhardt developed a striking compositional style during her time in Mexico, informed by the Pre-Columbian art-historical references of the artists’ she had met and a representation of social concerns. She produced a group of paintings and drawings of Mexican subjects with simplified and distorted figures and a neutral color palette, which notably bear an aesthetic and stylistic influence from her cultural surroundings. In the painting offered here, Calle Manana, or “Street of Tomorrow,” painted c. 1935-39, her stylized figures stand on the sidewalks next to the street, which runs vertically through the middle of the composition.
In 1939, the Charles Morgan Gallery in New York opened a solo exhibition of Leonhardt’s paintings, including the work offered here. In the foreword of the exhibition catalogue he wrote: “Satirical drawings, rendered with a wit as sharp as a surgeon’s knife, have place Olive Leonhardt as the artistic descendant of Hogarth and Swift. This heritage from the graphic arts is retained in her painting. In these she extends and elaborates the documentary with deliberate understatement, monotones, and a savage geometry. The result is a balanced unbalance of line and color. This combination presents a visual experience that is to be compared only to music, for it carries a definite feeling of counterpoint and almost of sound.”
Leonhardt’s work is in the collections of the New Orleans Museum of Art and The Historic New Orleans Collection. Her paintings rarely appear on the market, and this represents a rare opportunity to acquire a work of exceptional provenance and exhibition history.
Ref.: “Olive Leonhardt,” Charles Morgan Gallery, New York, NY, 1939.Leonardt, Gay, ed., Shaking Up Prohibition in New Orleans: Authentic Vintage Cocktails from A to Z, Olive Leonhardt & Hilda Phelps Hammond, Baton Rouge, LSU Press, 2015.
Pfohl, Katie A., Mexico in New Orleans: A Tale of Two Americas, LSU Museum of Art, Baton Rouge, LA, 2015.
Zohn, Kristen Miller, From New Orleans to Mexico and Back: Modernist Paintings by Olive Leonhardt, Lauren Rogers Museum of Art, Laurel, MS, 2017.

489. Alberta Kinsey (American/New Orleans, 1875-1952), "French Quarter Book Store", oil on canvas, signed lower left, 17 1/4 in. x 20 in., framed. $15000/25000
Note: Upon her arrival to New Orleans in 1918, Alberta Kinsey quickly developed a deep fondness for the French Quarter, despite the fact that it was considered a less than desirable neighborhood for a woman living alone in the early twentieth century. Renting an apartment and studio in the Old Governor Claiborne Home at 628 Toulouse Street, Kinsey hosted the first meeting of the Arts and Crafts Club of New Orleans and found herself at the center of the burgeoning artistic community in the city. Her love of the historic buildings, cobblestone streets, and plant-filled courtyards inspired her to depict many scenes of French Quarter daily life, such as the one of a French Quarter bookstore offered here.

490. William Woodward (American/New Orleans, 1859-1939), "Rue Chartres, N.O. Vieux Carré", 1930, Raffaelli crayon on board, signed and titled lower left, signed, titled, inscribed and "National Arts Club" label en verso, 20 in. x 14 in., framed. $40000/60000
Provenance: Descended in the family of the artist.
Note: The painting presented here depicts 522 and 524 Chartres Street, the location of Ibos Brothers Print Shop, Tinsmith, and Plumbing Company, owned by Bertrand Firmin Ibos and Joseph Baptiste Ibos. Woodward, who often created multiple works of art portraying the same scene, included this location in his 1938 book, French Quarter Etchings of Old New Orleans. In the text, he noted: “This shop and residence at 524 Chartres Street no longer exists. It was probably built in the late 1790s as its site was directly in the path of the great fires of 1788 and 1794 which deprived New Orleans of 1068 houses of the older type of Creole construction."
Another Raffaelli crayon version of this view exists from 1905; however, the picture offered here focuses more closely on the horse and carriage, as well as including additional details of the sky. Woodward used vibrant colors to depict a sunny day in the French Quarter and to highlight the architecture, which he was dedicated to preserving through his meticulous attention to detail.
Ill.: Woodward, William. French Quarter Etchings of Old New Orleans. New Orleans: Franklin Printing Company, 1938, pl. 3.

491. Morris Henry Hobbs (American/New Orleans, 1892-1967), "French Quarter Courtyard", oil on canvas board, signed lower right, "Brundo Art Supply Co., Chicago, IL" stamp en verso, 16 in. x 12 in., framed. $1200/1800

492. Charles Whitfield Richards (American/New Orleans, 1906-1992), "Boat Dock", oil on canvas board, signed lower right, signed and titled en verso, 16 in. x 20 in., framed. $1200/1800

493. Lulu King Saxon (American/Louisiana, 1855-1927), "Courtyard Scene", oil on canvas board, signed lower right, "W.E. Seebold" stamp en verso, 24 in. x 18 in., framed. $1800/2500

494. William Woodward (American/New Orleans, 1859-1939), "The Pali, Island of Oahu, Hawaii", 1925, oil on canvas, signed and dated lower left, titled en verso, signed, titled, inscribed and period "Art Association of New Orleans" exhibition label on stretcher, "Montgomery Gallery, San Francisco" label with artist and title on backing board, 22 1/4 in. x 28 1/4 in., original frame. $6000/8000 Exh.: Laguna Beach Art Association, 1926; Art Association of New Orleans Annual Exhibition, 1927. Note: The Pali, which is the Hawaiian word for cliff, is a particular section of the Ko’olau mountain range on the island of Oahu. This delightful view of the cliffs, which are located to the northeast of Honolulu, has long been a treasured one on the island of Oahu. From the composition created by William Woodward, with the Pali on the left and the northern Ko’olau range on the right, he would have been painting from the Kaneohe area of the island, near Kaneohe Bay.
Woodward traveled to Hawaii by sea as an extension of a trip throughout the western United States in the mid-1920s, including Yellowstone National Park and southern California. As always with his oil paintings, Woodward’s characteristic brushwork and palette add to the charm and natural beauty of the scene. His portrayal of the lush landscape with the clouds just obscuring the peak of the Pali demonstrates Woodward’s clear mastery of the oil medium as well as his talent in crafting a graceful and balanced composition. Exhibited twice in the years following its completion, this important canvas must have been highly prized by the artist.

495. Gaines Ruger Donoho (American/Mississippi, 1857-1916), "Trees of Heaven No. 2", oil on canvas, signed and initialed "M.A.D." by the artist's wife lower right, "Parrish Art Museum" and "Hirschl and Adler Galleries Inc." labels en verso, 25 in. x 30 in., framed. $6000/8000
Provenance: Estate of the Artist. Exh.: "G. Ruger Donohoe (1857-1916): A Retrospective Exhibition", Parrish Art Museum and Hirschl and Adler Galleries, New York, 1977 and listed in accompanying catalogue as no. 15.
Note: After studying at the Academie Julian in Paris, Ruger Donoho returned to the United States and worked in New York, exhibiting his paintings at the National Academy and the Society of American Artists. Having painted in the Barbizon and Impressionist styles in France, Donoho was accustomed to working in the outdoors and continued to do so near his home in East Hampton. In the painting offered here, “Trees of Heaven No. 2,” Donoho utilizes the plein air green and brown of the Barbizon school to realistically depict the sun-dappled light under the trees in the forest, while employing the short brushstrokes and airy color palette of Impressionism.

496. Theora Hamblett (American/Mississippi, 1895-1977), "Girl with Horse and Dog", 1973, oil on canvas, signed and dated lower right, 16 in. x 20 in., framed. $15000/18000

497. Louis "Harry" Freund (American/Arkansas, 1905-1999), "Havana Roof-top", oil on canvas laid on panel, signed lower right, titled and inscribed en verso, 30 in. x 40 in., framed. $2500/3500
Provenance: Treadway/Toomey Auctions, St. Louis, June 2, 2001, lot 1329.
Note: Esteemed Arkansas painter, illustrator and arts educator, Harry Louis Freund honed his talents while abroad in Central America in 1959 on a Stetson University grant. Likely during this time, he painted the work of art offered here. Red, overlapping rooftops guide the eye through the composition depicting an urban landscape. Taking center stage are two children who are joyfully playing, while a young woman reads the paper in the lower left-hand corner. This vibrant scene highlights Freund’s adept eye for complex compositional arrangements and showcases his remarkable skill.

498. Noel Rockmore (American/New Orleans, 1928-1995), "Bill Russell with Pretty Baby", 1966, oil on canvas, signed, titled and dated upper and mid-right, 40 in. x 30 in., framed. $4000/6000
Note: In 1962, Noel Rockmore was commissioned by Larry Borenstein to paint portraits of Preservation Hall musicians, proprietors and close friends. He often sketched the musicians quickly in polymer on masonite while they performed on stage and later made appointments for formal sittings, taking sometimes two to three hours to depict them in oil on canvas.
One of Rockmore's favorite sitters was Bill Russell (1905-1992), a prominent jazz historian who ran a record store and violin repair shop near Preservation Hall. In the painting offered here, Rockmore depicts Russell with his pet parakeet, named Pretty Baby after the Tony Jackson tune. In Tom Sancton’s book “Song for My Fathers” he writes, “[Bill’s] real allegiance was to Pretty Baby, his talking parakeet, who did a perfect imitation of Bill’s Midwestern accent.”
Ref.: Sancton, Tom. Song for My Fathers: A New Orleans Story in Black and White. New York: Other Press, 2006.

499. Knute Heldner (Swedish/New Orleans, 1877-1952), "Shrimp Boat in Louisiana Bayou", oil on canvas, signed lower right, 26 in. x 30 in., framed. $3000/5000

500. Noel Rockmore (American/New Orleans, 1928-1995), "Homage to the Cafe des Artistes 2 (Chipp's Pub)", 1979, oil and mixed media on canvas, signed and dated upper left, signed and dated en verso, signed and dated on stretcher bar, 47 1/4 in. x 78 in., framed. $4000/6000

Ill.: Marvin, Shirley, Rich, & Tee. Noel Rockmore & Shirley Marvin: Our Journey to the Discovery of Rockmore. New Orleans: The Golden Era of the French Quarter Foundation, 2013, p. 65.

Note: Between 1974 and 1979, Noel Rockmore created multiple canvases that he called an “homage” to either New York or New Orleans, each featuring unique architecture and local personalities. The monumental painting offered here depicts some of the patrons of the iconic Café des Artistes, located in the Hotel des Artistes, a luxury co-op apartment building at One West 67th Street. The Café was run by George Lang from 1975-2009, and its regular customers included actors, newsmen, politicians, and socialites. The alternate title, “Chipp’s Pub,” refers to a nearby bar at 150 Columbus Avenue between 66th and 67th Streets, which was also a local haunt of celebrities and artists in the Upper West Side.

In this painting, Rockmore includes arches, perhaps a reference to nearby Lincoln Center, brickwork architecture, and the harbor with ships in the background, combining several disparate New York City features in a single composition. Similarly, in the foreground Rockmore unites twenty unique characters, some of which are based on actual artists and actors with whom Rockmore was acquainted, creating a joyous assemblage celebrating their beloved neighborhood.

Ref.: Marvin, Shirley, Rich Marvin, and Tee Marvin. Noel Rockmore and Shirley Marvin: Our Journey to the Discovery of Rockmore. La Grange, GA: Stephens Printing, 2013; Dube, Ilene. “Hotel des Artistes: New York’s Original Art District.” Urban Agenda Magazine. Accessed Sept. 13, 2018.

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