Neal Auction Louisiana Purchase 2015

Additional information at www.nealauction.com 149 954. Six Anglo‑Irish Cut Glass Decanters , 19th/20th c., of various bell‑shape and faceted forms, tallest h. 10 3/4 in. $200/300 Provenance: Temple Heights, Columbus, MS. 955. American Federal Inlaid Mahogany Dressing Mirror , mid‑19th c., shield‑shape mirror, scrolled supports, serpentine base with three drawers, shaped bracket feet, h. 22 1/4 in., w. 18 in. $300/500 956. Dutch Neoclassical‑Style Marquetry Mirror , 19th c., molded cornice, overall flowering vine inlay, h. 41 in., w. 23 1/2 in. $500/1000 957. Napoleon III Gilt Bronze Figural Mantel Clock , mid‑19th c., urn‑mounted case flanked by pair of opposing female busts, incurvate base centering a lion masque, h. 21 1/2 in., w. 17 1/4 in., d. 9 1/4 in. $700/1000 Provenance: Estates of Eva and Jerry Gotlib, New York, NY and Fort Smith, AR. 958. Beaux Arts Gilt Bronze Cartel Clock in the Louis XVI Taste , c. 1900, enameled dial with cobalt Roman numerals, h. 22 in., w. 11 in., d. 4 1/2 in. $800/1200 959. Walter Launt Palmer (American, 1854‑1932) , “View of the Lake with Dock and Row Boat”, 1889, oil on canvas, monogrammed and dated “Aug 31 1889” lower left, 13 1/2 in. x 10 in., framed. $3000/5000 Note: As the son of a well-known sculptor, Walter Launt Palmer was exposed to the arts from a young age. Among his father’s circle of friends was Frederic Church (1826- 1900), one of the leading American landscape painters of the day, who took the young Palmer as a pupil. Under Church’s tutelage, Palmer gained a keen understanding of the richness and beauty of nature and how to capture its splendor in oil and watercolor. 960. Alexander Robinson (American, 1867‑1952) , “Venetian Canal Scene”, watercolor and gouache on paper, signed lower right, 25 1/4 in. x 19 1/4 in., framed. $800/1200 961. Emilio Sanchez‑Perrier (Spanish, 1855‑1907) , “The Path by a Grove of Trees”, oil on canvas, signed lower right, 17 in. x 24 in., framed. $6000/8000 Provenance: Dr. Edward J. Gonczy, M.D., Hillside, NJ, acquired New York, c. 1955; thence by descent. Note: Emilio Sánchez-Perrier studied at the School of Fine Art in Seville and the San Fernando School of Art in Madrid before moving to Paris in 1880, where his works were greatly influenced by the Barbizon School and subsequent Impressionists, while studying under the artists Félix Ziem and Auguste Boulard. The influence of these styles is clearly visible in the majestic landscape offered here. The composition is distinctly Barbizon in its predilection of the plein air study of natural scenery over the Neoclassical tradition that painted indoors as backdrops for dramatic events. Here, the drama is nature; the focal point, much like in the work of Barbizon artist Rousseau, is a grove of craggy trees accentuated by a path “less traveled” along a mountain hollow. In lieu of Barbizon reverse lighting (darker foreground offset by a luminescent background), Sánchez-Perrier plays upon the airier palettes of the Impressionists, visible in the cerulean blue of the sky and the painterly rendering of the lavender flowers as purple dots in a field of Siena brush, to capture the same hazy atmospheric perspective as the Barbizon painters.