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283287 Los(e)/Seite
Los 323
Seymour Joseph Guy (British/New York City, 1824-1910), "Portrait of a Gentleman in His Study", 1856, oil on canvas, signed and dated lower left, "Masterworks from Private Connecticut Collections, Wadsworth Atheneum, Hartford, CT, 1993-94" exhibition label and "Fine Arts Conversation Inc., Montclair, NJ" stamp en verso, 36 in. x 29 in., period frame. Exh.: Masterworks from Private Connecticut Collections, Wadsworth Atheneum, Hartford, CT, Oct. 1993 - Jan. 1994
Los 57
Continental School, 19th c., probably after an 18th c. miniature, "Soldier of the Marigny de Mandeville Family, Either Francois-Philippe (1680-1728) or His Son, Antoine Philippe (1722-1779)", oil on canvas, unsigned, "Louisiana State Museum" label en verso, 36 in. x 29 in., antique frame. Provenance: Gaspar Cusachs, entrepreneur, historian and collector, (1855-1929); The Gaspar Cusachs Collection, loaned to the Louisiana State Museum, New Orleans, LA (c. 1909-2016). Ill.: Harter, John Burton and Mary Louise Tucker. The Louisiana Portrait Gallery, Volume 1 to 1870. New Orleans: Louisiana State Museum, 1979, pp. 40-41. Note: This handsome image is a copy on canvas of an untraced engraving, mezzotint, or portrait miniature, possibly executed before 1728, or in 1763, when its possible sitters were probably in France. The first specific record of this present painting is an early albumin carte-de-visite photograph, made in August 1883 by the New Orleans author/journalist Edward Clifton Wharton (1827-1891), for this portrait’s owner, Mme. Gustave de Marigny [née Bienvenue], the daughter-in-law of Bernard Xavier Philippe de Marigny de Mandeville. As noted on the carte-de-visite, this sitter was “either the father or the grandfather of Bernard Xavier Philippe de Marigny de Mandeville [1785-1868]”. Although in all likelihood, Mme. Gustave de Marigny meant the grandfather or great-grandfather of Bernard Xavier Philippe de Mandeville. Bernard’s “father” would have been Pierre-Philippe Enguerrand de Marigny de Mandeville (1751-1800), while his “grandfather” would have been Antoine-Philippe de Marigny de Mandeville (1722-1779), who was born in Mobile while his own father, Francois-Philippe de Marigny de Mandeville (1680-1728) was in colonial service. Antoine-Philippe was married in New Orleans in 1748, and is successively described as a “Lieutenant of Colonial Troops” in the New Orleans 1762 power of attorney to his wife, preceding his voyage to France. He was also described as “Capitaine de l’infanterie au service de France” on his tombstone, where both he and his father are named as “chevalier[s] de l’ordre royale et militaire de Saint-Louis,” the decoration displayed on this breastplate. Since the highly accurate depiction of this armor is datable to the early 18th c. or just possibly, in retrospect, to 1763, it is likely that the compilers of the 1979 Cabildo catalogue [cited above] were at least partly correct—that this portrait represents either Antoine-Philippe de Marigny de Mandeville, or his father, Francois-Philippe de Marigny de Mandeville.Ref.: The Historic New Orleans Collection (acc. no. 58-101-L.3, MSS 216.37, Folder 37).
Los 295
School of Cornelis Janssens van Ceulen I (Dutch/British, 1593-1661), "Portrait of Jane, Daughter of Baroness Clifford, Age 1 1/2", 1635, oil on canvas, inscribed and dated "AETATIS.SVAE 1 1/2 / ANNO. 1635." upper right, retains partial old paper labels en verso, 42 1/4 in. x 34 1/8 in., antique giltwood frame with artist and title inscription
Los 505
iron-b10003José Francisco Xavier de Salazar y Mendoza (Mexican/New Orleans, c. 1750-1802), "Portrait of Daniel William Coxe (1769-1852)", 1792, oil on canvas, signed, dated and inscribed "Josef de Salazar America/Pinxit Nueva Orleans/Anno 1792" lower left, "Loan Exhibition of Historical Portraits, Pennsylvania Academy of the Fine Arts, Philadelphia, 1887" label en verso, 38 1/2 in. x 30 in., antique frame. Provenance: Family of the sitter; by descent. Exh.: Listed in the catalogue for the "Loan Exhibition of Historical Portraits" at the Pennsylvania Academy of the Fine Arts, Philadelphia, 1887, no. 101, p. 29. In the catalogue's introductory note, Charles Henry Hart wrote "This collection of original historical portraits is believed to be the first of the kind ever systematically brought together for exhibition in this country." In addition to the "Daniel W. Coxe" portrait by J. de Salazar, Brinton Coxe loaned family portraits of "Charles S. Coxe, Judge of the District Court, Philadelphia" by H. Inman and "Tench Coxe, Commissioner of Revenue, U.S." by J. Paul.
Los 52
Alexandre Alaux (French/New Orleans, 1851-1932), “Portrait of Woman Wearing a Madres Calendé (previously thought to be Marie Laveau)”, after engraving in Two Years in the French West Indies by Lafcadio Hearn, oil on copper, signed mid-right, 3 3/4 in. x 3 in., period frame. Provenance: Gaspar Cusachs, entrepreneur, historian and collector, (1855-1929); The Gaspar Cusachs Collection, loaned to the Louisiana State Museum, New Orleans, LA (c. 1909-2016). Note: Alexandre Alaux was born in France, but New Orleans became his home by the time he was just four years old. A talented artist from a young age, Alaux studied with Francois Bernard (1812-1875) and began earning medals and prizes in 1869. An accomplished artist, Alaux was proficient in painting miniatures, landscapes, portraits, and historical paintings. Among the subjects of his portraits, Alaux enjoyed copying earlier works of prominent New Orleans citizens such as Etienne de Boré and Don Andres Almonaster y Roxas.The woman in this miniature, although of unknown identity, presents a fascinating look at a prosperous free woman of color. The mixture of patterns on the fabric of her dress and tignon add an interesting layer of exoticism, while still maintaining the current fashion in western society. Probably self-commissioned as evidenced by the sitter’s apparent control of the manner and style of the painting, the painting includes a tignon to signify the sitter’s racial status; however its bright pattern makes a beautiful complement to her face, and the pose has a sense of refinement and strong sense of self. The sitter’s elaborate jewelry, as well as the fact that she had the means to commission a portrait, indicates that she had both wealth and position in society. Other well-known artists painting portraits of free women of color in Louisiana, just one to two decades earlier, were Jacques Amans and Franz Fleischbein, whose works Alaux undoubtedly had studied.
Los 1076
American Gilt Bronze Camphene Solar Lamp, c. 1850, attr. to Hooper and Company, baluster form with relief foliage, eagle shield and portrait of Washington on a stepped marble base, foliate-cut shade, h. 25 1/2 in., dia. 7 1/4 in. Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH
Los 425
Jacques Guillaume Lucien Amans (French/Louisiana, 1801-1888), "Félicie Aime, Mme. Alfred Roman (1825-1859)", oil on canvas, unsigned, 36 1/2 in. x 29 1/4 in., framed. Provenance: By descent in the family of the sitter. Note: Félicie Aime, the daughter of prominent sugar planter, Valcour Aime, spent her childhood on the plantation officially known as St. James Plantation and widely referred to as “Le Petit Versailles” for its lavishness. The Aime, Fortier, and Roman families were intricately linked through multiple marriages, intertwining the family tree branches, and amassing many properties along the Mississippi River, including Elmwood, Felicity, Oak Alley, and Cabahanoce Plantations. Louisiana artists would often travel to plantation owners’ homes to paint portraits of multiple family members on site. Many of Félicie Aime’s family members, including her father, Valcour Aime, her mother, Josephine Roman Aime, her sister, Félicité, and her cousins, Robert and Jeanne Roman (whose portraits were sold in these rooms in Nov. 2012) had likenesses painted by Amans in the late 1830s.Félicie married her cousin, Alfred Roman (1824-1892) in 1849 in St. James Parish, Louisiana. She died in Paris in 1859, and her portrait was passed down in her sister, Félicité’s family. In 19th century portraits, girls and young women were often depicted in impeccable white gowns, whether indoors or with an outdoor background; the current lot has an almost identical pose and double-puffed sleeve, off-the-shoulder dress as Amans’ portrait of Clara Mazureau from 1838. In both paintings, Amans’ remarkable brushwork detailing the facial features, hair, and dress of the sitter is beautifully offset by a brilliant blue sky and a low horizon landscape.
Los 50
Attributed to Louis Antoine Collas (French, 1775-1856, act. Louisiana, 1822-1829), "Madame Andry", c. 1826-29, gouache miniature, unsigned, 3 1/2 in. x 3 in., period frame. Provenance: Gaspar Cusachs, entrepreneur, historian and collector, (1855-1929); The Gaspar Cusachs Collection, loaned to the Louisiana State Museum, New Orleans, LA (c. 1909-2016). Pub.: Harter, John Burton and Mary Louise Tucker. The Louisiana Portrait Gallery, Volume 1 to 1870. New Orleans: Louisiana State Museum, 1979, p. 37
Los 420
William Aiken Walker (American/South Carolina, 1838-1921), "Wood Sawyer (Man with a Bucksaw)", oil on academy board, signed lower left, pencil-titled and "Kennedy Galleries, Inc. New York" label en verso, 12 1/4 in. x 6 1/8 in., framed. Provenance: Estate of Nuala O'Donnell Pell; Kennedy Galleries, Inc., NY. Note: To be included in John Fowler's forthcoming catalogue raisonne on William Aiken Walker. Note: This distinctive and rare Walker portrait of a Reconstruction era African-American man. Best known for his depiction of cotton pickers posing in the fields, Walker painted a small body of work depicting figures in other pursuits or circumstances. This work with a man holding a bucksaw and a basket and having a saw horse around his shoulders is quite rare in his oeuvre. The man is quite dignified in the pursuit of his trade, standing before a building with split logs at his feet, casting a shadow on the verdant grass.
Los 850
Andrew LaMar Hopkins (American/New Orleans, 20th c.), "A Typical Day in Antebellum New Orleans", 2015, acrylic on canvas board, signed and dated lower right, signed, titled, dated and artist's card en verso, 20 in. x 16 in., framed. Note: Born in Mobile, AL, Andrew Hopkins’ art is greatly influenced by New Orleans and his love of all things French. Hopkins, an avid student of history, meticulously researches and immaculately executes his historic tableaus of the 18th and 19th centuries, resulting in beautifully rendered architectural interiors with period dress and exacting detail such as the work offered here. Each object included in his composition is period correct and often inspired by items within Hopkins' own collection of antiques.A person of Creole descent, Hopkins is passionate about his ancestry, and his subjects typically focus on Creole and free people of color in New Orleans. On his paternal side, he is a direct descent of Nicolas Baudin, who obtained a land grant in 1710 for an island south of Mobile, which he named Mon Louis. As a descent of Baudin, Hopkins is related to several French governors of Louisiana. As evidenced in “A Typical Day in Antebellum New Orleans,” Hopkins creates scenes that are both familiar and intriguing. Combining his period subject matter with simple, non-dimensional renderings of people reminiscent of the Early American Primitive School of portrait painters, Hopkins is often compared to artists such as Joshua Johnson and Julien Hudson. However, his contemporary use of color and often whimsical elements imbue his works with a style uniquely his own. Ref.: Cutrone, Lee. “Andrew LaMar Hopkins.” New Orleans Homes & Lifestyles. Spring 2015. www.myneworleans.com. Accessed Oct. 23, 2016.
Los 7
De Fer, Nicholas (French, 1646-1720), "Cartes et Descriptions Generales et Particulieres Pour l'Intelligence Des Affaires du Temps, au Sujet de la Sucession de la Couronne d'Espagne, en Europe, en Asie, Afrique et Amerique...", Paris, Chez l'Autheur, 1701, 12 in. x 9 1/2 in, full calf, with views and portrait dedicated to King Philipe V, and 20 double-page maps (8 1/2 in. x 12 3/4 in.), including one larger (17 1/2 in. x 22 in.) Provenance: Gaspar Cusachs, entrepreneur, historian and collector, (1855-1929); The Gaspar Cusachs Collection, loaned to the Louisiana State Museum, New Orleans, LA (c. 1909-2016).
Los 951
British School, probably late 19th c., "Portrait of Rev. Robert Hawker, D.D. (1753-1827)", oil on canvas, unsigned, 40 in. x 30 in., framed. Note: The subject of this posthumous portrait of the prominent Anglican divine is identified by the tabletop volumes from the 1826 edition (London) of his Commentaries on the Bible.
Los 124
Two Antique Lithographs of Louisiana Political Figures, early 19th c., portrait of Pierre Soulé, signed "L. Audibert", 10 in. x 8 in.; portrait of Bernard de Marigny, "Lith de Villiar, Paris 1816", 16 in. x 11 in. Provenance: Gaspar Cusachs, entrepreneur, historian and collector, (1855-1929); The Gaspar Cusachs Collection, loaned to the Louisiana State Museum, New Orleans, LA (c. 1909-2016).
Los 1
Louisiana School, 19th c., "Portrait of Madame Celeste D'Estrehan Marigny de Grailhe (1808-1885)", c. 1860, oil on canvas, unsigned, 30 1/4 in. x 25 1/4 in., antique frame. Provenance: Gaspar Cusachs, entrepreneur, historian and collector, (1855-1929); The Gaspar Cusachs Collection, loaned to the Louisiana State Museum, New Orleans, LA (c. 1909-2016). Pub.: Harter, John Burton and Mary Louise Tucker. The Louisiana Portrait Gallery, Volume 1 to 1870. New Orleans: Louisiana State Museum, 1979, p. 97, no. 215. Note: Marie Céleste d’Estrehan, daughter of Jean Noël d’Estrehan (1754-1823) and Marie Claude Robin de Logny (1768-1822), grew up on her father’s plantation, Destrehan, which still stands today in Destrehan, Louisiana. She first married Prosper François de Marigny de Mandeville, and the couple had two children. After his death, Céleste remarried, this time to prominent New Orleans attorney Alexandre Grailhe; the couple had several children. The Egyptian revival-style Grailhe family tomb was erected in St. Louis Cemetery #2 and was designed by architect J.N.B. de Pouilly.
Los 56
Continental School, early 19th c., probably after an 18th c. miniature, "Pierre Philippe Enguerrand de Marigny de Mandeville (1757-1800) father of Bernard-Xavier-Philippe de Marigny de Mandeville (1785-1868)", oil on canvas, unsigned, 36 in. x 28 in., antique frame. Provenance: Gaspar Cusachs, entrepreneur, historian and collector, (1855-1929); The Gaspar Cusachs Collection, loaned to the Louisiana State Museum, New Orleans, LA (c. 1909-2016). Ill.: Harter, John Burton and Mary Louise Tucker. The Louisiana Portrait Gallery, Volume 1 to 1870. New Orleans: Louisiana State Museum, 1979, p. 41
Los 262
Louis Émile Pinel de Grandchamp (French, 1831-1894), "Portrait of Adelina Helene Ralli (1833-1904)", 1857, oil on canvas, signed, dated and inscribed "Const.ple" mid-left, 46 1/4 in. x 35 1/2 in. (painted oval), period Rococo-Revival giltwood frame. Provenance: The sitter; her grandaughter, Marie Adeline Psiachi (1868-1937); her son, John Howard Lane (b. 1901); his daughter, Janice Lane Young (1930-2015); Estate of Janice Lane Young, Richmond, VA. Note: Louis Émile Pinel de Grandchamp was a student at the Ecole des Beaux-Arts de Paris and studied under Edouard Picot and Hippolyte Dubois, making his debut in the Salon of 1849 at the young age of 18. Traveling to Egypt and Constantinople, Grandchamp spent many years creating Orientalist style genre scenes, as well as portraits of prominent locals, such as this lovely portrait of Adelina Ralli.Adelina Ralli was the daughter of Adele Wilkinson (1811-1904) and George Ralli (1806-1874). She married John Psiachi (1818-1883), and the couple had a daughter, Marie Louise Psiachi (1868-1937), who married the United States Consul to Turkey, Rufus Walt Lane (1869-1943), in 1898. The Ralli and Psiachi families are buried in the Bornova Anglican cemetery in Izmir, Turkey.
Los 1536
AUGUSTUS NICHOLAS BURKE, RHA (IRISH, 1838-1891)Farmyard in BrittanyOil on canvasSigned11¾ x 15¾ inches (30 x 40 cm.)The National Gallery of Ireland ïThe Irish ImpressionistsÍ 1st October - 30th November 1984 exhibition label versoAugustus Joseph Nicholas Burke (1838-1891) was born into a landowning family in Co. Galway. He began his artistic career in London, and from 1863 exhibited at the Royal Academy. Later, in 1871, he became a Member of the Royal Hibernian Academy. Burke resided in the Netherlands between 1870 and 1872, and in 1875 was one of the first Irish painters to move to Pont-Aven, France, to be followed by Aloysius OÍKelly, Stanhope Forbes, Walter Osborne (his pupil), Joseph Kavanagh, and Nathaniel Hill. Many painted-en plain air and showed the influences of French Realism in their works at the RHAÍs Annual Exhibitions. Augustus Burke showed 16 Breton subject paintings at The RHA between 1876 and 1878. His scenes of Breton daily life reflect the influence of the great French Social Realist artist, Jean-Franois Millet (1814-1875), for example MilletÍs paintings, The Angelus of 1857 (Musee dÍOrsay, Paris) and The Gleaners, also of 1857 (Musee dÍOrsay, Paris). His Breton figures are depicted with the same dignity, workers in the field carrying out their daily tasks. Augustus Burke exhibited a total of 149 works at the Royal Hibernian Academy. A portrait of him, by Alfred Grey, RHA, is to be found together with his own works in The National Gallery of Ireland. BurkeÍs other work, On the Feast Day of Notre Dame in Tremalo, Brittany is on display in the Royal Hibernian Academy, Dublin.
Los 1571
RALPH PEACOCK (ENGLISH, 1868-1946)Young girl seated in a panelled roomOil on canvas56½ x 38½ inches (144 x 98 cm.)Enclosed in original carved gilt-wood frameRalph Peacock (1868-1946) was a genre and portrait painter, especially of children. He was born in London. He entered The Royal Academy Schools where he won a gold medal and The Creswick Prize. He won a gold medal at Vienna in 1898 and a bronze at The Universal Exhibition, Paris in 1900. He exhibited 93 works at The Royal Academy and 27 at The Walker Art Gallery, Liverpool. His works can be seen at The National Portrait Gallery, London; The Tate Gallery; The Walker Art Gallery, Liverpool; and Leighton House.Note. His exhibit at The Tate Gallery: a work of 1897 titled, Ethel, similarly shows a girl depicted against a panelled back-drop. This work is stated to have been painted in the artist's studio at 11 Holland Park Rd., Kensington.
Los 1563
FOLLOWER OF HANS VON AACHEN (GERMAN, 1552-1615), SEVENTEENTH-CENTURYA portrait of Emperor Rudolf II (1552-1612) wearing The Order of the Golden FleeceOil on canvasContemporary inscription RODVLPHVS II IMP26 x 20¾ inches (66 x 53 cm.)Emperor Rudolf II (1552-1612) was the Holy Roman Emperor and King of Hungary and Bohemia. From 1583 the Court was based in Prague,h ere Rudolf assembled an extensive collection of paintings and works of art. He was an important Patron of artists, sculptors and jewelers. He was particularly interested in the mannerist painters of the time, Bartholomeus Spranger(1546-1611), Hans von Aachen (1552-1615), Roelant Savery (1576-1639), and Giuseppe Arcimboldo (1530-1593), and commissioned many works from them. He also commissioned the greatest craftsmen of Europe to create decorative objects, ceremonial swords, clocks, compasses and telescopes. He had a profound interest in scientific matters and the occult. In the early seventeenth-century his collection was the greatest in Europe. After his death the collection was dispersed. Today, items from the Imperial collection are to be found in the great museums of the world. The Order of The Golden Fleece is an order of chivalry, founded in 1430. Membership was limited to fifty Knights. It was founded "for the reverence of God and the maintenance of the Christian faith and to honour and exalt the noble order of Knighthood." Today there are eighteen members of The Order, including most of the reigning monarchs.
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283287 Los(e)/Seite