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Lot 66
8 Britain’s boxed sets including Arthur Pulling Sword from Stone, Knights of Agincourt mounted duel Earl of Suffolk v Duc de Bourbon, Knights of the Round Table mounted joust Sir Lancelot v Mordred, The Round Table with King Arthur and Throne, Sir Percivale/Sir Tristram/Sir Mordred & 3 Thrones. All boxed, minor wear, contents mint.
Lot 70
A Britain’s Zulu War Rorke’s Drift Storehouse Building Diorama Superbly detailed 1:32 scale resin building faithfully showing the stone outer wall, brick inner wall, outer stairway and thatched roof. The building has an open back for populating into a realistic enactment. 60 x 16 x 20 cm high. Boxed in outer plain box, minor wear, inner foam packing; item mint.
Lot 71
A Britain’s Zulu War Rorke’s Drift Hospital Building Diorama plus Redoubt Section Superbly detailed limited edition (400, with certificate) 1:32 scale resin building faithfully showing the stone outer wall, brick inner wall and thatched roof. An open back shows the ward, treatment room and pantry/dispensary, with opening doors, makeshift bed and escape hole knocked in ward wall. Ideal for populating into a realistic enactment. 27 x 15 x 19 cm high. Also a Mealie bags Redoubt Section, 20 x 20 x 6 cm with additional Mealie bags in original packing. Both boxed in outer plain boxes, minor wear, inner foam packing; items mint.
Lot 237
Follower of Severo da Ravenna (Italian, c. 1465/75-before 1538), "A Pair of Nude Male Figures Supporting Inkwells", probably mid-16th c., bronze statuettes with russet alloys, chestnut patinas, and black lacquers, heights 6 1/2 in., on variegated black marble plinths. Provenance: Collection of a Gentleman, purchased 1968 from Manheim Antique Galleries (in B.H. Latrobe`s Louisiana State Bank Building), corner of Royal and Conti Streets, New Orleans. Note: Severo di Domenico Calzetta, known from the city of his birth and death as Severo da Ravenna, where he was enrolled as a Master in 1496 (though his principal works were executed in Padua, from 1500 to 1511), is an exceptional artist who was particularly celebrated in the writings of the Paduan humanist Pomponio Gaurico—especially in his treatise De Sculptura (1504)—but was subsequently forgotten, and only "rediscovered" in the 20th century. Over the last fifty years Severo has been acknowledged as one of the most inventive and prolific of all Renaissance bronzecasters: something approaching 200 casts, of at least 35 or 40 different small bronze designs, have been recognized as issuing from his shop. Even within such an enormous oeuvre, the present figures may well represent a yet-unidentified model: their closest counterparts are apparently the three similarly sized and posed Male Nudes on the topmost of the six figural registers of a colossal Bronze Candlestick in the Fine Art Museums of San Francisco (61.35), in which trios of similar and larger figures (with upraised arms) support the successive platforms and of which the Female Nudes on the bottom tier are also idiosyncratic variants of Severo`s Cleopatra. The possibility that these remarkably handsome figures may in fact derive from such a source, is reinforced (first) by their highly unusual preservation in the form of an exact pair, probably confirming their derivation from just such a multi-figured utensil; and (second) by the fact that their absolutely standard Severan inkwells—life casts from a real seashell, such as that of the galeodea echinophora of Linnaeus—are here present in the form of aftercasts (implying their replication from other, identical specimens closer to the natural models). These shell-inkwells are each attached to their figures` backs by two early screws: one above their shoulders, and with a second, running diagonally (and most unusually) into the backs of their heads. References: Anthony F. Radcliffe, "Replicas, Copies and Counterfeits of Early Italian Bronzes," Apollo 1986, pp. 184-185, fig. 4 (for the San Francisco Candlestick); Richard E. Stone, "Severo Calzetta da Ravenna and the indirectly cast bronze," Burlington Magazine, vol. 48 (Dec. 2006), pp. 810-819; Dylan Smith, "I bronzi di Severo da Ravenna: un approccio tecnologico per la cronologia," in L`Industria Artistica del Bronzo del Rinascimento, M. Ceriano e V. Avery, eds., Verona, 2008, pp.49-80 (esp. p. 77, note 75, on the Candlestick again). We are particularly grateful to Dr. Charles Avery for calling that artifact to our attention (private communication).
Lot 454
Marie Adrien Persac (French/Louisiana, 1823-1873), "View of a French Harbor", c. 1850, gouache and watercolor on paper mounted on board, signed "A. Persac" lower right, sheet 5 3/8 in. x 8 1/2 in., framed. Note: This view of an as-yet-unknown river harbor is the first unknown Persac painting to be discovered since a cache of fourteen small watercolors, also done in France, appeared in England in 2000. The picture gives evidence of being an early work painted in France before the artist made his first trip to the United States around 1842. This early French harbor scene affords collectors a rare opportunity to acquire a Persac. Of the seventy-six known Persacs, fifty-four are in public collections. The watercolor being offered here, invites comparison with Persac`s later view of the "Port of New Orleans" owned by The Historic New Orleans Collection. Like it, this view obviously represents a river port near the sea lanes, as is attested by a vast number of ocean-going sailing ships docked on both banks and one sailing midstream. Another similarity is that both images feature a broad bend—a crescent—in their respective rivers. Not surprisingly, the two-to-four story buildings of the town sport iron balconies reminiscent of the Vieux Carre, New Orleans. While St. Louis Cathedral appears at center right in Persac`s "Port of New Orleans", what appear to be the twin Gothic towers of a cathedral or large church can be seen through the cross trees of the second ship. This architectural feature could be a major clue to the location of this scene. Persac`s surviving works give no indication that he painted capriccios; rather, he rendered each feature as it was. He was unrealistic only in his tendency to depict all of his subjects in immaculate condition. As with most of Persac`s paintings, there are unusual elements which challenge identification; in this image the curious conically draped objects in the left foreground are examples. Nearby is a delightful blue and white tent with a scalloped border and gilt tassels on a raised stone foundation. Or is it an open market draped with canvas sides? Or is it even a building painted to look like a tent? The three openings facing the river are made by pushing cloth to either side. What was the purpose of this attractive confection? Persac was trained in France. He enjoyed success as an architect, civil engineer and cartographer, and added photography to his skills after his arrival in the United States. He always had the soul of an artist and the charm that pervades his Louisiana work, including his slightly skewed perspective, is attractively present in this harbor scene. Neal Auction Company would like to thank H. Parrott Bacot for his assistance with this catalogue entry. H. Parrott Bacot is Professor Emeritus of the History of Art and former Director of the LSU Museum of Art. He was the organizer of the exhibition "Marie Adrien Persac, Louisiana Artist" and principal co-author of the book (LSU Press; 2000)
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