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.
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Louisiana School, mid-19th c., "Rose Nicaud's Coffee Stand, French Market", oil on canvas, unsigned, typed Louisiana State Museum accession label reading "Clague, Richard (Artist) Attributed to / Coffee Stand in French Market in 1800s", museum label en verso, 20 in. x 24 in., framed. 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: Born a slave in 1812 in New Orleans, Rose Nicaud eventually bought her freedom and joined the many free people of color operating businesses in the city. Credited with owning the first outdoor coffee stand in New Orleans, by 1871 Nicaud was listed in the City Directory with a location in the French Market at the corner of Dumaine and Chartres Streets. The current lot depicts Nicaud, wearing a dress, apron, and tignon, serving coffee to three seated customers. A similar scene, titled “Rose, who sells coffee in the French Market,” was published in a book of “New Orleans Characters” by artist Leon Joseph Fremaux (1821-1898) in 1876. According to contemporary descriptions, Nicaud was known to call out “Café Noir!” and “Café au Lait!” to attract customers and was a fixture in the French Market community for over thirty-five years. Ref.: Field, Martha Reinhard Smallwood. The Story of the Old French Market, New Orleans. New Orleans: The New Orleans Coffee Co., 1916; Grayson, Sandra M. Symbolizing the Past: Reading Sankofa, Daughters of the Dust, & Eve’s Bayou as Histories. Lanham, MD: University Press of America, 2000.
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.
Adolph D. Rinck (French, c. 1810-1871, act. New Orleans, 1840-1871), "Judah Touro (1775-1854)", watercolor miniature, signed mid-right, pencil inscription identifying artist and sitter on reverse of frame, 3 1/4 in. x 2 1/2 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: Born a slave in 1812 in New Orleans, Rose Nicaud eventually bought her freedom and joined the many free people of color operating businesses in the city. Credited with owning the first outdoor coffee stand in New Orleans, by 1871 Nicaud was listed in the City Directory with a location in the French Market at the corner of Dumaine and Chartres Streets. The current lot depicts Nicaud, wearing a dress, apron, and tignon, serving coffee to three seated customers. A similar scene, titled “Rose, who sells coffee in the French Market,” was published in a book of “New Orleans Characters” by artist Leon Joseph Fremaux (1821-1898) in 1876. According to contemporary descriptions, Nicaud was known to call out “Café Noir!” and “Café au Lait!” to attract customers and was a fixture in the French Market community for over thirty-five years. Ref.: Field, Martha Reinhard Smallwood. The Story of the Old French Market, New Orleans. New Orleans: The New Orleans Coffee Co., 1916; Grayson, Sandra M. Symbolizing the Past: Reading Sankofa, Daughters of the Dust, & Eve’s Bayou as Histories. Lanham, MD: University Press of America, 2000.
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.
FOLLOWER OF LORENZO LOTTO (ITALIAN, 1480-1557)Portrait of a young noblewoman wearing a cream dress, pink bodice, and ruby and pearl jewelleryOil on canvasDublin storage label verso, circa 1920sInscribed on reverse in ink 'Fa - lotto'26 x 20¼ inches (66 x 52 cm.)Provenance: Private Irish Collection, circa 1920s
The Officer’s 10 Clasp M.G.S. awarded to Major-General John Napper Jackson, 94th (Scotch Brigade) Foot and 99th (Lanarkshire) Foot, who started his military service at the age of just 9 years old, and saw varied service at many of the major battles and actions in Portugal, Spain and France. He later helped to foil an attempted mutiny on the high seas aboard the convict ship Somersetshire in 1842 near Cape Town whilst en route to Van Diemen’s Land, comprising: Military General Service, 1793-1814, 10 clasps, Fuentes D’Onor, Ciudad Rodrigo, Badajoz, Salamanca, Vittoria, Pyrenees, Nivelle, Nive, Orthes, Toulouse, with additional silver top bar engraved ‘Peninsula’ and top bar with reverse brooch pin (J. N. Jackson, Captn 94th Foot), rank ‘Captn’ carefully erased, officially re-impressed and corrected [see footnote] over faint ‘Lieut’, good very fine or better. John Napper Jackson was born in Dublin, Ireland, c. 1796 and began his army career as an Ensign with the 94th (Scotch Brigade) Foot on 1 July 1805 - at the age of just nine years old. Promoted to Lieutenant on 1 January 1806, he was only fourteen when he commenced four years of active service in the Peninsula between February 1810 and April 1814, during which time he was promoted to Captain on 28 February 1812. Throughout his service in the Peninsula he was present at some thirty battles and actions, including: the Siege of Cadiz, Lines of Torres Vedras, the siege and storming of Ciudad Rodrigo, the third Siege of Badajoz and storm of the castle by escalade, Fort China (in command of an escort of the third division), Nive, Nivelle and numerous others between. Having earnt himself a Military General Service Medal with ten clasps before the age of nineteen, and having served at the rank of Captain for roughly 2 years before the campaign’s culmination, it is understandable that he might later have asked his medal (impressed as ‘Lieut’) to be re-impressed by the mint with the correct rank, as we see here. He served for a time on Half-Pay with the 43rd Light Infantry during 1822 before later joining the Light Company of the 99th (Lanarkshire) Foot on its formation in 1824 – already by this time an experienced fighting soldier with twenty years’ service, and still only twenty nine years old. He went with the Regiment to Mauritius and Australia, where he acted in command for two years during Colonel Despard’s absence in New Zealand. During this time he played a part in the suppression of an attempted mutiny aboard the convict ship Somersetshire in 1842, where soldiers of the 99th and 50th Regiments formed the guard. As recorded in his obituary in the Army and Navy Gazette: ‘He was a passenger on board the convict ship Somersetshire, proceeding to re-join the 99th Regiment, then in Van Dieman’s Land, when a mutiny broke out by a part of the guard [Private soldiers in the 99th Foot] conspiring with the convicts to take the vessel. Three of the soldiers implicated in this atrocious offence of murder etc. were convicted and transported for life.’ Having put into Cape Town, the three soldiers of the 99th Foot (Agnew, Chisholm, Kelly) faced trial on board and were prosecuted by Lieutenant Colonel Jackson himself, to whom the plot had been leaked by the ship’s cook, and all three were found guilty, the ringleader Agnew was initially sentenced to death by firing squad (but appears to have had this reduced to hard labour and imprisonment), and the others were placed in irons on board to continue to Van Dieman’s Land for a life’s sentence. Continuing, Jackson later commanded the 99th Regiment in Ireland and Aldershot where they gained a ‘tremendous reputation’ for smartness in dress and drill. Afterwards described by a fellow officer as ‘Moltke of the Nines’ he was seldom seen off the barrack square and never known to go on leave. He was for a time Colonel of the 3rd West India Regiment in 1862, before returning to become the Colonel of the 99th Regiment from 1863 until his death after a short illness at St Helier’s, Jersey, on the 25th of January 1866, at the age of seventy two. He had previously been noted as a resident of Bath. Ex Glendining, 1970.
A Lenci pressed-felt girl doll, with brown side-glancing eyes, blonde curly bobbed mohair wig, jointed felt body, white muslin dress applied with green and black felt and pink flowers, green waistcoat and matching shoes and undergarments - 161?2in. (42cm.) high (a little faded and discoloured)
A Francois Gaultier bebe No.8, with fixed brown glass eyes, delicately painted closed mouth, light brown brows, pierced ears, original blonde hair wig on cork pate, jointed cloth covered Gesland body with composition shoulder, lower arms and legs, ink stamp on body for ‘5 rue Berenger’, a dark burgundy ribbed silk dress buttoning down the entire front, a brown velvet bonnet and cape with white rabbit fur trim, under garments and tan leather shoes - 211?4in. (54cm.) high
An Armand Marseille 390n head on French body, with blue sleeping eyes, brown mohair wig, jointed papier-mâché body with pull-cord voice mechanism, blue dress, underclothes and white shoes - 203?4in. (53cm.) high; composition head Chinese elder lady and man in original clothes (flaking to his nose); and other items
A Jumeau fashionable doll with Cremer Junior stamp, with fixed blue striated glass eyes with darker blue rim, closed smiling mouth, pale brows, pierced ears, later brown hair wig, gusseted kid body with bisque arms and blue ink stamp to front ‘Cremer Junior Maker 210 Regent St.’; and a larger size red wool dress - 151?2in. (391?2cm.) high (slight damage to body)
A rare Chad Valley teddy bear to dress 1940s, with golden mohair swivel head, orange and black glass eyes, pronounced muzzle, black stitched nose and mouth, cloth body with pin-jointed limbs and later khaki uniform - 121?2in. (32cm.) high (bald spots to head) - it is interesting how similar this bear is to the Merrythought Bingies, but a lower quality
An Etienne Denamur bebe No.9, with fixed dark blue striated eyes, closed mouth, heavy dark brown brows, pierced ears, blonde mohair wig on cork pate, jointed papier-mâché body, brown velvet dress with red trim, matching cap, leather sailor’s hat with ‘Pitchu’ hat band, brown kid shoes, socks and undergarments - 21in. (531?2cm.) high (factory chip to back of ear with fired colour)
An English wax-over papier-mâché shoulder-head doll, with bright blue eyes, blonde mohair wig, stuffed body, elongated legs, pink kid gloves, original white muslin crinolined dress with lace trim, bloomers, white and blue bead crucifix necklace and blue kid flat shoes, 1850s - 23in. (581?2cm.) high
A rare German bisque shoulder head Parian-type doll, with deep blue painted eyes, feathered brow, closed mouth, moulded drop earrings, black ribbon with bow to one side and rose with leaves in hair to other side, hair swept away from the face in rolls, moulded crucifix on black ribbon around neck, head turned slightly to the right, stuffed body with bisque limbs, moulded heeled grey and black boot with blue tassel, pale beige printed cotton low necked dress with dark brown and grey feathered flower heads, black apron and undergarments - 171?4in. (44cm.) high (chipped toe)
An unmarked Jumeau bebe No.11, with blue sleeping eyes, open mouth, pierced ears, brown hair wig, jointed papier-mâché body, brown and cream dress, shoes and underclothes - 241?2in. (62cm.) high (crack running down right side of head, behind ear and under chin, eye chip and head seems slightly proud of body)
A Tete Jumeau bebe No.11, with fixed blue striated eyes, open/closed mouth showing slight gap, pierced ears, ginger mohair wig on cork pate, jointed papier-mâché body, white cotton dress, tartan sash, undergarments including red spotted petticoat, black size 13 Jumeau shoes, white fur tippet, crocheted hat and blue ink stamp to lower back - 241?4in. (611?2cm.) high
A Cuno & Otto Dressel wax over composition head bride doll, with fixed blue eyes, transferred eyebrows, elaborately plaited blonde mohair wig, decorated with flowers, stuffed body with waxed limb, the moulded brown boots with gold Dresden trim and black heels, in original cream satin Princess Line dress trimmed with lace and artificial flowers and undergarments –18in. (46cm.) high
A Pedigree Sambo doll designed by Nora P. Hill, with felt face, painted eyes, velvet body wearing original red and white striped dungarees, yellow felt hat and card swing tag - 111?2in. (29cm.) high; an Alpha Farnell velvet black girl in original dress with label; and an Occupied Japan clockwork tinplate bug
ANNOUNCE THE RED BOOK IS NO LONGER INCLUDED IN THIS LOTA rare French fashionable doll for the House of J. Terrène circa 1874, a pale bisque shoulder-head doll with deep blue almond shaped eyes, pale brown brows, closed mouth with slight smile, head turned slightly to the right, impressed J. L. on front shoulder plate, original skin wig on cork pate, jointed kid covered wooden body with bisque limbs, paper label on back ‘9 Médailles aux Expositions 1867-78-72-73-74 J. TERRENE 10, Rue du Marché St. Honoré PARIS’, original deep blue velvet walking dress with bustled skirt with peaks at front and back of waist, a full jacket with fitted sleeve and brass button, a blue silk half bonnet, chemise, bloomers, bustle suitable petticoat, socks and brown leather flat soled shoes, holding a red leather ‘Petit Paroissien De L’Enfance” prayer book - 171?2in. (441?2cm.) high (small pieces missing from bottom left front shoulder plate, this is under kid line and is possibly a factory flaw, slight insect damage to book, balding to wig) - Terrène was listed in directories as hairdresser from 1863-73; then Widow Terrène, toy maker was listed in Paris Directories at the same address from 1881-90
A rare Chad Valley teddy bear to dress 1940s, with golden mohair swivel head, clear and black glass eyes, pronounced muzzle, black stitched nose and mouth, cloth body with pin-jointed limbs, printed blue label on foot and later khaki uniform - 121?2in. (32cm.) high (fraying to muzzle and forehead, general wear and staining to body) - it is interesting how similar this bear is to the Merrythought Bingies, but a lower quality
Two British cloth dolls: one with pressed felt face, brown painted side glancing eyes, blonde mohair wig, jointed velvet limbs with cloth body, composition hands and original rayon dress - 19in. (481?2cm.) high; and a Chad Valley girl doll in original lilac muslin dress with matching bonnet and labels on feet
A 19th century doll’s dress and coat, pale pink ribbed cotton with applied work and cloth covered buttons, a matching flared coat, probably manufactured circa 1870s - 12in. (301?2cm.) high (slight staining); a black composition baby with photograph of the original owner holding the doll (damaged); and other items
Various dolls: a German wax-over composition doll with blue glass eyes, blonde mohair wig, original floral dress and moulded boots and socks - 131?2in. (341?2cm.) high (crack to face and damage to boot); two Nistis dolls with paper labels; two Galia dolls, one with paper label; two other felt dolls; and a corset box
An interesting primitive hand stitched black girl doll, possibly American, with painted mask face, wool and mohair wig, black arms and legs with stitched fingers and large knees, burgundy dress, red ribbons in hair and white oil-cloth shoes with restitching and matching socks, probably 1920s-30s - 211?2in. (541?2cm.) high
Three Dean’s Rag Book Co. cloth girl dolls: all with printed faces, comprising girl with red velvet coat and bonnet with white artificial silk plush trim, integral shoes with spats - 181?2in. (47cm.) high; a girl with printed face, brown hair and blue dress; and another with painted face with transferred eyes and brown velvet dress
A Dean’s Rag Book Co. uncut Floral Dolls cut-out sheet 1926, featuring five dolls each wearing a different floral designed dress, each doll would be approximately 14in. (351?2cm.) high, this items is from the Dean’s archive and is believed to be a pre-production prototype and comes with a certificate
A continental Lenci-type pressed-felt girl doll, with brown painted side glancing eyes, brown curly mohair bobbed wig, jointed cloth body, pink, green and black felt dress applied with daisies and undergarments - 17in. (43cm.) high; and a Lenci plastic flocked headed doll in felt clothes with cloth label
An Armand Marseille 390 child doll, with blue sleeping eyes, blonde mohair wig, jointed composition body, blue and white striped dress, undergarments, blue wool coat with matching bonnet and white shoes - 133?4in. (35cm.) high (missing four fingers and needs restringing); and an AM shoulder-head doll
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227115 item(s)/page