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Information below is the lot/description information from our Late Spring Estates Auction, May 19 & 20, 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 201-300

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201. Robert Sayer, "A New General Chart of the West Indies from the Latest Marine Journals and Surveys...", London, 1790, hand-colored in outline, printed on two separate sheets, very detailed large-format map, of note, present-day Belize is shown as British Logwood Cutters, referring to the wood used in dyeing wool, 40 in. x 27 1/2 in. (if joined), unframed. $2000/3000
Provenance: Old World Auctions, Sedona, AZ, 2/20/2008, lot# 379.

202. Mathew Carey, "The State of Mississippi and Alabama Territory", Philadelphia, 1818, hand-colored in outline, one of the earliest maps to show Alabama territory, 14 in. x 12 in., unframed. $1200/1800
Provenance: Barry Lawrence Ruderman Antique Maps, La Jolla, CA, 2002.

203. John James Audubon (American, 1785-1851), "Hudsonian Godwit", hand-colored engraving with aquatint, Plate CCLVIII, from Birds of America, Havell edition, "J. Whatman/1834" watermark, sheet 25 1/2 in. x 38 3/4 in., framed. $1000/1500

204. After William Edward West (American, 1801-1861), "Battle of New Orleans and Death of Major General Packenham on the 8th of January 1815", Philadelphia, 1817, engraving, second state, 16 in. x 22 1/4 in., unframed. $800/1200
Provenance: Swann Auction Galleries, New York, Oct. 2, 2012, lot 476.

205. Dean Mitchell (American/Florida, b. 1957), "N.O. Shutters", 2007, watercolor on paper, signed and dated lower left, pencil-titled en verso, 14 3/4 in. x 9 3/4 in., framed. $3000/5000
Note: Dean Mitchell's works, primarily watercolors that focus on everyday objects, often have deep meaning behind their seemingly ordinary subject matter. Growing up as an African American man without a father, Mitchell says he is "always searching for a sense of place—a sense of intimacy in [his] work." Mitchell also focuses on those likely to be overlooked - both people and places - and finding beauty in simplicity. Visiting New Orleans for the first time in 1984, he has returned again and again for the city’s character and atmosphere. The beautiful scenes created by Mitchell's brush, such as "N.O. Shutters” offered here, portray the city in a haunting manner and provide a fascinating window onto details most neglect to notice.

206. William Woodward (American/New Orleans, 1859-1939), "French Opera House", 1907, Rafaelli crayon on board, signed, dated and inscribed "French Opera N.O." lower right, pencil-inscribed en verso, 19 in. x 15 in., framed. $50000/80000
Provenance: Henry Plauche Dart (1858-1934), thence by descent; Estates of Jane and Stewart Maunsell.
Henry P. Dart, in addition to being a prominent attorney, historian and archivist, was an early supporter of historic preservation.
Note: When the director of the opera company in New Orleans, Charles Boudousquié, commissioned a new opera house in 1859, James Gallier, Jr. was asked to design the building. The Greek Revival structure, which stood on the corner of Bourbon and Toulouse Streets, was completed in only seven months and became one of the premier locations for New Orleans social life for the next sixty years. Many types of events took place at the Opera House, both private and public, including Carnival balls, wedding receptions, concerts, and debuts. After sixty years of being the pinnacle of New Orleans society, on December 3, 1919, a fire of unknown origins spread throughout the entire complex, leaving it in ruins. Although plans to renovate the building were discussed, they ultimately never came to fruition.
In the late 19th and early 20th centuries, William Woodward worked on a series of historical sketches of the streets of the French Quarter, completing at least four views of the Old French Opera House. Of the four, the one presented here depicts the most intimate view of the Opera House itself, focusing on the curved side and front façade of the building. With his use of thickly applied Raffaelli oil crayon, Woodward created his most atmospheric and highly Impressionist version of the scene. The bright palette, technique of applying broad layers of color, and the energetic crayon strokes create a cohesive composition and add to the sense of immediacy in this important work.
Ref.: Hinckley, Robert. William Woodward: American Impressionist. New Orleans: MPress, 2009.

207. Joseph Rusling Meeker (American/Louisiana, 1827-1887), "Flamingos in a Marsh", 1869, oil on canvas, signed an dated lower right, 10 1/4 in. x 18 1/4 in., framed. $8000/12000

208. William Aiken Walker (American/South Carolina, 1838-1921), "Male Cotton Picker" and "Female Cotton Picker", 2 oils on board, each signed lower left, each 8 in. x 4 in., framed alike. (2 pcs.) $7000/10000
Note: To be included in John Fowler's forthcoming catalogue raisonné.

209. Clementine Hunter (American/Louisiana, 1886-1988), "Wake", 1975, oil on canvas, monogrammed lower center, pencil drawing en verso, 14 in. x 18 in., framed. $4000/6000

210. George Rodrigue (American/Louisiana, 1944-2013), "Bridge over a Coulee", oil on canvas, signed lower left, artist stamps on reverse of frame, 22 in. x 36 in., original frame. $20000/30000
Note: Returning to Louisiana from studies at the Art Center College of Design in Los Angeles in 1967, George Rodrigue dedicated himself to capturing his heritage and the landscape of Acadiana in his paintings. Embracing his Cajun family roots, Rodrigue was determined to depict Louisiana differently from those who came before him, and he focused first on the massive oaks. These trees dominated the region, and their relationship to the sky, land and people of Acadiana fascinated Rodrigue. A recurring element in his works throughout his career, the oak became as much a symbol of George Rodrigue as the iconic Blue Dog. In the early work offered here, the oak trees are cropped at the top and allow only intermittent swaths of sunlight to illuminate the scene. The bridge across the coulee, or ravine, is just glimpsed through the dark foliage, blending into the landscape itself.

211. George Frederick Castleden (British/American, 1861-1945), "Old Spanish Fort, New Orleans", 1926, 2 watercolors on paper, one signed lower right, one signed and dated lower left, each titled and dated en verso, each 10 in. x 13 3/4 in., unframed. (2 pcs.) $2000/3000
Note: Often traveling between England, Canada, and the United States, George Frederick Castleden opened a studio in New Orleans around 1920. During the 1920s and 1930s, Castleden was inspired by the historic aspects of the city to create watercolors, oil paintings, and etchings of some of the most well-known places in New Orleans and the surrounding environs.
The Old Spanish Fort on Bayou St. John, which was built around 1701 and used as a fortress at the entrance to the city during the early 18th century, was still open to the public until 1926. The fort had been decommissioned in 1823 and used for various entertainment venues, including an amusement park, casino, theater, and many restaurants. From Castleden's paintings, one can see the remnants of fort walls and cannons, preserving the imagery of a lost New Orleans site for future generations.

212. Laet, Jean de (Johannes de). L'Histoire du Nouveau Monde ou Description des Indes Occidentales..., Leiden, Chez Bonaventure & Abraham Elzevier, 1640, folio (13 3/4 in. x 8 3/4 in.), full leather, first French edition, title-page printed in red and black, with woodcut vignette, 14 double-page maps by Hessel Gerritsz, mounted on stubs, numerous woodcuts throughout text of flora and fauna. $16000/19000
Note: Johannes de Laet (1581-1649), was a Dutch cartographer and Director of the Dutch West India Company. Historian Philip Burden has called the work, "... arguably the finest description of the Americas published in the 17th century". The maps, done by Gerritsz, mapmaker for the Dutch West India Company, were groundbreaking, especially the map of New England. It was the first map to name N. Amsterdam, Manhattan (Manbattes), the Hudson River (Noordt Rivier) and Massachusetts.

213. Monumental Map of Mississippi, Louisiana and Alabama by John La Tourette, "An Accurate Map Or Delineation of the State of Mississippi, with a large portion of Louisiana & Alabama; showing the communication by land and water between the Cities of New Orleans and Mobile...", compiled & published by John La Tourette, Mobile, Alabama, 1845, engraved by S. Stiles, Sherman & Smith, New York; original hand-coloring, with vignettes of the State House, Jackson and a cotton plant, with inset maps of Vicksburg, Natchez, Jackson, Yazoo City, Columbus, Woodville, Grand Gulf, Mississippi City (Gulfport), Norfolk, and Port Gibson; at upper left is a table showing white and slave populations, and the amount of cotton produced in every county, based on the 1837 census; 72 in. x 57 in., framed, original rollers unmounted but can be provided. $50000/70000
Note: Little is known biographically about John La Tourrette, except that he was a cartographer who produced the most detailed, ornamental, and factual maps of the Southeast United States during the antebellum period. Born on Staten Island, New York in 1785, he moved to Mobile prior to 1830, as he is shown on that census as a 45-year-old male. His first documented works were maps of the Creek Territory in Alabama and the Choctaw Territory in Alabama, both published in 1833, followed by three large-format state maps. Of these, the Mississippi map seems to be the rarest. The subject map was deaccessioned by the Connecticut State Library in 2012, and the only other located example is in the British Library. Compiled on six sheets on the monumental scale of six miles to the inch, the map bears testimonials of R.M. Williamson, Surveyor General of Mississippi and John Bell, Surveyor of Lands Ceded by the Chickasaws, who declared that it is “one of the most accurate maps ever published in the United States.”

214. Pieter Covens and Corneliu Mortier, "L'Amerique Septentrionale.../America Septentrionali...", Amsterdam, c. 1740, hand-colored engraved map, after Delisle s seminal map of 1700, 18 1/2 in. x 23 in. $1000/1500

215. Guillaume Delisle, "Carte de la Louisiane et du Cours Du Mississipi", Paris, 1718, first edition, second state, hand-colored in outline, 19 1/4 in. x 25 1/2 in., unframed. $10000/15000
Provenance: The Philadelphia Print Shop, Phil., PA, 2003.
Note: Delisle's seminal work was the first to name Texas (Mission de los Teijas) and New Orleans.

216. Johann Baptiste Homann, "Amplissimae regionis Mississipi seu Provinciae Ludovicianae...", Nuremberg, 1720, hand-colored map, 19 1/2 in. x 22 5/8 in., unframed. $1500/2500
Note: Known as the "Buffalo" map, and based Delisle's seminal work, this map features a title cartouche depicting colonial explorer Father Louis de Hennepin, a vignette of a beaver colony at Niagara Falls, and another cartouche of Indians flanking a standing buffalo.

217. Nicholas Bellin, "Carte Reduite du Golphe du Mexique et des Isles de l'Amerique...Par Ordre de M. Le Comte de Maurepas", Paris, 1749, outline color showing the various possessions of France, Spain, Great Britain, Holland, and Denmark, 21 in. x 32 1/4 in., unframed. $1500/2500

218. [Mormon Emigration], Piercy, Frederick H., illustrator and James Linforth, editor. Route from Liverpool to Great Salt Lake Valley...Together with A Geographical and Historical Description of Utah, and a Map of the Overland Routes to that Territory from the Missouri River..., Liverpool & London, Franklin D. Richards & Latter-Day Saints' Book Depot, 1855, 4to (12 1/4 in. x 9 in.), frontispiece map (11 1/4 in. x 19 1/2 in., 30 steel engraved plates after Piercy, 9 wood engravings, marbled boards, later gilt-lettered leather spine. $18000/25000
Provenance: Bonham's, New York, December 2, 2010, lot 273: William Reese Company, New Haven, CT., 2001.
Note: Frederick Piercy (1830-1891, a Mormon convert, conceived this work to convince English Mormons to emigrate to Utah. The sketches he made were called by Streeter, "some of the best Western views of the period", and include scenes of New Orleans, Baton Rouge, Natchez, Vicksburgh, St. Louis, Fort Laramie, Salt Lake City, as well as portraits of Brigham Young and other elders.

219. Edgar Samuel Paxson (American/Montana, 1852-1919), "Blackfoot Chief", 1901, watercolor, signed and dated lower right, 10 in. x 7 7/8 in., unframed. $5000/7000
Note: Born in New York in 1852, Edgar Paxson had an interest in traveling to the American West from an early age. Settling in Montana, Paxson worked as an artist, as well as painting signs, buildings, and theater sets. Paxson was intrigued by the Native Americans of the area in which he had settled just one year after the Battle of Little Bighorn. He decided to paint, after painstaking research including interviews with members of the Indian tribes as well as American soldiers, a view of the famous battle, which he completed in 1899. At that same time, Paxson also painted many portraits of Native Americans in watercolor, such one offered here, depicting a Chief of the Blackfoot people of Saskatchewan, Alberta, British Columbia, and Montana. The empathetic portrayal of the man in profile with a headdress and jewelry is characteristic of Paxson’s style and displays his use of strong highlight and shadow, as well as his skill with watercolor.

220. Joachim Casell (Spanish/New Orleans, b. 1927), "Old New Orleans Cemetery", 2003, and "Backyard of 107 Shearwater Dr. O.S., Biloxi, Miss.", 2012, 2 pastels on paper, each signed and dated lower left, each signed, dated, titled on backing, 10 1/4 in. x 13 1/2 in. and 14 1/4 in. x 20 1/4 in., framed. (2 pcs.) $600/800

221. Joachim Casell (Spanish/New Orleans, b. 1927), "Yellow Flowering Sage at Belle Fountaine Ocean Springs, Miss.", 1991, and "Big Swamp, New Orleans, LA", 2010, 2 pastels on paper, each signed and dated lower left, each signed, dated and titled on backing, 14 in. x 22 in. and 10 1/2 in. x 16 in., framed. (2 pcs.) $600/800
Note: Joachim Casell was born in Geona, Spain and attended the prestigious École des Beaux-Arts in Paris. Casell’s interest in “landscapes untouched by man” often lead him to study the works of the Impressionists, in whose stylistic footsteps he followed. Casell immigrated to the United States and found the Gulf Coast of Louisiana and Mississippi, along with the French Quarter of New Orleans, as inspiration for his creations. Bringing his love of bright color from his native Mediterranean, Casell infuses his Impressionist leanings with a vibrancy and intensity that especially shines through in his pastel works offered here.
Ref.: Hahn, Joyce. “Biography of Joachim Casell.” Casell Gallery. July 17, 2004. Accessed April 9, 2018.

222. Bror Anders Wikstrom (Swedish/New Orleans, 1854-1909), "Fishing Boats", oil on canvas, signed lower right, 12 in. x 17 in., framed. $6000/8000
Provenance: Henry Plauché Dart (1853-1934), thence by descent; Estate of Jane and Stewart Maunsell.
Note: Born in Sweden, Bror Anders Wikstrom’s first career was that of a sailor, making numerous trips between the Netherlands and the United States. The scenery from these voyages stayed with him when Wikstrom decided to become an artist. Wikstrom worked in many different media throughout his career; he was an illustrator, printmaker, painter, and cartoonist, as well as spending time designing Carnival pageant sets in New Orleans. Wikstrom taught art; he, along with Andres Molinary, Paul Poincy, and Achille Perrelli, founded the Artists’ Association of New Orleans, where young artists in the city could have lessons in drawing, oil painting, watercolor, and sculpting.
Many of Wikstrom’s oil paintings harken back to his past at sea; he often portrayed ships sailing or in the harbor, using his keen sense of color and atmospheric effects to highlight the maritime vessels. In the current lot, Wikstrom demonstrates his technical skills with a brush, depicting a hazy background and fine details for the rocks and boats with a neutral and mauve palette that suggests an early morning on the water.

223. Will Henry Stevens (American/New Orleans, 1881-1949), "The Golden Shore", oil on board, signed lower left, titled en verso, 29 1/2 in. x 21 3/4 in., framed. $6000/8000
Note: Will Henry Stevens once said: “Rivers have meant very much to me. Inland rivers. I remember being charmed by Huckleberry Finn. If only one could get that spirit into painting.” He grew up on the Ohio River in Vevay, Indiana and later moved to the Gulf Coast and then New Orleans to teach, where he spent much time on the Mississippi River. Stevens would spend his summers in the mountains of western North Carolina and eastern Tennessee near lakes and rivers where this scene was likely painted. An artist who was profoundly inspired by nature, Stevens greatly enjoyed being outdoors. The work offered here, titled "The Golden Shore", depicts a sun-dappled lake with trees and low mountains set aglow by the setting sun – providing a sense of what Stevens meant regarding getting “that spirit into painting.”

224. William Woodward (American/New Orleans, 1859-1939), "White Mt. Farm", oil on canvas affixed to board, signed lower left, pencil-titled and inscribed en verso, 14 in. x 19 7/8 in., framed. $1500/2500

225. William Woodward (American/New Orleans, 1859-1939), "Feeding the Ducks by the Pier, New England", 1890, watercolor on paper, signed and dated lower left, 16 in. x 22 in., framed. $1800/2500

226. Corinna Morgiana Luria (American/New Orleans, 1890-1975, act. Newcomb College, 1910-1916), "Two Women Fishing", watercolor on paper, signed lower right, 14 1/2 in. x 20 1/4 in., framed. $2000/3000
Provenance: Henry Plauché Dart (1853-1934), thence by descent; Estate of Jane and Stewart Maunsell.
Note: Born in New Orleans in 1890, Corinna Luria was a student at Newcomb Art School and studied under Ellsworth Woodward. She received her Diploma in Art in 1913, enrolled in the Graduate Art Program from 1913-15, and was listed as an Art Craftsman from 1915-16. An accomplished watercolorist who also decorated Newcomb Pottery, Luria often depicted scenes of New Orleans and the surrounding area, such as the charming watercolor offered here. In 1915, her works were exhibited at the 1915 Panama-Pacific International Exposition in San Francisco.
Ref.: Poesch, Jessie. Newcomb Pottery: An Enterprise for Southern Women, 1895-1940. Atglen, PA: Shiffer Publishing, Ltd., 1984.

227. Paul Ninas (American/Louisiana, 1903-1964), "Bayou Landscape", oil on paper laid on masonite, unsigned, 23 1/2 in. x 35 1/2 in., framed. $4000/6000

228. George Rodrigue (American/Louisiana, 1944-2013), "Untitled (Evangeline with Oak Tree)", conté crayon on paper, signed lower right, 11 1/2 in. x 17 1/4 in., framed. $4000/6000

229. Walter Inglis Anderson (American/Mississippi, 1903-1965), "The Cottage", crayon on paper, unsigned, "Luise Ross Gallery, NY" label with artist and title en verso, 10 3/4 in. x 8 1/2 in., framed. $5000/8000

230. Theora Hamblett (American/Mississippi, 1895-1977), "Madonna", texstone and mixed media on board, initialed lower right, 40 1/4 in. x 19 1/2 in., framed. $7000/10000
Provenance: Acquired from the artist, c. 1960s.
Note: Renowned for her self-taught painting style, Theora Hamblett has become one of Mississippi’s most celebrated artists. Although paint was her primary medium, Hamblett occasionally experimented in other media, including glass and Texstone Gravel, a type of crushed glass sold by the bag in twelve colors. Hamblett used the Texstone Gravel to create mosaic-style works, which she would then coat with a poured plastic to seal the gravel in place. Hamblett worked with Texstone and glass only few times because of the fumes created, making the works offered here extremely rare.
Hamblett painted many religious scenes throughout her life, illustrating the visions and dreams that came to her, as well as Biblical stories such as Christ and the Apostles, the Madonna, and the life of St. Peter. In her Texstone works, she continued this theme with a Madonna made from both gravel and tiles, as well as a Star of David, which Hamblett referred to as “The Creator’s Star.” The gravel’s texture in these works serves to link her mixed media work to her paintings, mimicking the style of Hamblett’s tiny brush strokes.
Ref.: Hamblett, Theora. Theora Hamblett Paintings. Jackson: University Press of Mississippi, 1975.

231. Theora Hamblett (American/Mississippi, 1895-1977), "The Creator's Star", c. 1964, texstone and mixed media on board, pencil-inscribed "Theora Hamblett done about 1964/ purchased by Marijane Wilbanks Sept 1966/ plaster glass" en verso, dia. 31 in. $6000/8000
Provenance: Acquired from the artist, c. 1960s.

232. Theora Hamblett (American/Mississippi, 1895-1977), "Yellow Angel", painted glass, monogrammed lower right, 8 in. x 9 in. $1000/1500
Provenance: Acquired from the artist, c. 1960s.

233. Theora Hamblett (American/Mississippi, 1895-1977), "Multicolor Bowl", glass, dia. 9 1/4 in. $1000/1500
Provenance: Acquired from the artist, c. 1960s.

234. Alexander John Drysdale (American/New Orleans, 1870-1934), "Louisiana Bayou at Sunset", 1931, oil wash on board, signed and dated lower left, 20 in. x 29 3/4 in., framed. $2500/3500
Provenance: Private Collection, New Orleans.

235. Theora Hamblett (American/Mississippi, 1895-1977), "White Dog", 1975, oil on canvas board, signed and dated lower right, 10 in. x 8 in., framed. $6000/8000
Provenance: Acquired from the artist.

236. William Aiken Walker (American/South Carolina, 1838-1921), "Nature Morte: Red Snapper, Salmon and Mackrel", oil on wood panel, signed en verso, 24 in. x 16 in. $8000/12000
Note: To be included in John Fowler's forthcoming catalogue raisonné.

237. William Aiken Walker (American/South Carolina, 1838-1921), "Nature Morte: Mallard, Merganser and Snipe", oil on wood panel, signed en verso, 24 in. x 16 in. $8000/12000
Note: To be included in John Fowler's forthcoming catalogue raisonné.

238. Clementine Hunter (American/Louisiana, 1886-1988), "Melrose Plantation Auction", oil on canvas board, monogrammed lower right, inscribed en verso, 17 3/4 in. x 24 in., framed. $3000/5000
Note: By 1970, Clementine Hunter was a well-established Louisiana folk artist with her friend, Francois Mignon, acting as her unofficial agent. After the death of Cammie Henry in 1948 and her son, J.D. Henry, in 1969, Melrose Plantation and most of its contents were sold at auction. Many of Hunter’s paintings and murals were included in the June 6-7, 1970 sale held on the premises by Sanchez Antiques and Auction Galleries of New Orleans. Hunter, who was present for the sale, painted several depictions of the event itself in later years. The work presented here includes furniture, paintings, and plantation ephemera surrounding a representation of the African House in the center of the composition with the auctioneer on the right. Hunter must have found inspiration in the exciting occasion and recorded the events of the day much as she did throughout her life in Natchitoches.

239. Clementine Hunter (American/Louisiana, 1886-1988), "African House", oil on board, monogrammed mid-right, 16 in. x 24 in., framed. $2500/3500
Provenance: Collection of Carolyn B. and Senator Russell B. Long, Baton Rouge.

240. Alexander John Drysdale (American/New Orleans, 1870-1934), "Bayou Landscape", 1932, oil wash on board, signed and dated lower left, 20 in. x 30 1/2 in., framed. $2500/3500

241. Alfred Heber Hutty (American/Charleston, 1877-1954), "Charleston Spires", etching laid on board, pencil-signed, titled and "ed. 75" lower margin, 12 7/8 in. x 10 in., framed. $1200/1800

242. Withdrawn

243. Thomas Hart Benton (American/Missouri, 1889-1975), "Wyoming Autumn (Fath 91)", 1974, lithograph, signed in plate lower right, pencil-signed lower right margin, edition of 250, published by the Associated American Artists, New York, 17 in. x 23 in., framed. $3000/5000

244. Walter Ronald Locke (American/Florida, 1883-1949), "Patio Don Toledo House, St. Augustine, Fla.", 1937, and "Peace on the Anclote, Fla.", 1937, 2 etchings, pencil-signed, titled, dated and inscribed lower margin, one with printed artist bio en verso, 9 1/4 in. x 11 1/2 in. and 9 in. x 12 in., one framed and one matted. $600/800

245. John McCrady (American/New Orleans, 1911-1968), "Carnival in New Orleans", 1947, lithograph, pencil-signed, titled and dedicated "To Margaret with all good wishes" lower margin, initialed in plate lower right, 8 3/4 in. x 12 in., unframed. $500/800

246. Alexander Scott (British, 1872-1932), "View of Varanasi India", 1898, oil on canvas, monogrammed and dated lower left, 13 1/4 in. x 18 1/4 in., framed. $1000/1500

247. After Charles Bird King (American/Rhode Island, 1785-1862), "Okee-Maakee-Quid A Chippeway Chief", c. 1838, hand colored lithograph on paper, after Charles Bird King (American/Rhode Island, 1785-1862) from History of the Indian Tribes of North America drawn and colored by J.T. Bowen', sight 18 in. x 12 in., framed. $600/900

248. McKenney and Hall/ Publishers, "Keokuk Chief of the Sacs and Foxes", c. 1838, hand-colored lithograph on paper, after Charles Bird King (American/Rhode Island, 1785-1862) from History of the Indian Tribes of North America, drawn and printed by J.T. Bowen, sight 19 in. x 13 1/2 in., framed. $800/1200

249. McKenney and Hall/ Publishers, "Apauly-Tustennuggee" and "Waa-Top-E-Not", c. 1843, 2 hand-colored lithographs on paper, After Charles Bird King (American/Rhode Island, 1785-1862) from History of the Indian Tribes of North America, printed by Daniel Rice and James G. Clark, sights 19 in. x 13 1/2 in., framed alike. (2 pcs.) $600/900

250. George Ohr Art Pottery Bisque Pitcher, c. 1897-1900, corseted form, two applied handles, base impressed "G.E. OHR/Biloxi, Miss.", h. 6 1/4 in., dia. 3 in. $1200/1800

251. George Ohr Art Pottery Bisque Vessel, c. 1898-1910, bulbous form, rippled neck, cursive "GE Ohr" signature on base, h. 3 3/4 in., dia. 5 1/2 in. $700/1000

252. George Ohr Art Pottery Bisque Vessel, 1904, squat bulbous form, two applied handles, cursive "G.E. Ohr" signature and handwritten "Expo Clay/04" on base, h. 2 1/4 in., dia. (incl. handles) 4 1/4 in., dia. (without handles) 4 in. $800/1200
Exh.: Louisiana Purchase International Exposition, St. Louis, MO, 1904.

253. George Ohr Art Pottery Footed Vase, c. 1895, twist form, straight neck, brown speckled ochre glaze, base impressed "GEO. E. OHR/ BILOXI, MISS", h. 3 1/4 in., dia. 2 1/4 in. $1500/2500

254. George Ohr Art Pottery Vase, c. 1898, crimped baluster form, straight hashed neck, gadrooned rim, spinach, gunmetal, and brown glaze, base impressed "G.E. OHR/Biloxi, Miss.", h. 3 5/8 in., dia. 4 3/4 in. $1500/2000

255. George Ohr Art Pottery Vessel, c. 1897-1900, crimped form, pinched rim, blue and green crackle glaze, base impressed "G.E. OHR/Biloxi, Miss.", h. 2 1/4 in., w. 3 1/8 in. $1000/1500

256. George Ohr Art Pottery Vase, c. 1890, hourglass form, green-brown glaze with brown speckled design, separate impressed mark "GEO. E. OHR" and "BILOXI, MISS.", h. 4 1/8 in., dia. 3 in. $1000/1500

257. Newcomb College Art Pottery Vase, late 1930/early 1931, decorated by Henrietta Bailey with relief-carved pine cones and needles design, matte glaze with blue, green and pink underglaze, base marked with Newcomb cipher, decorator's mark, Jonathan Hunt potter's mark, reg. no. SS44, and shape no. 184, h. 7 in., dia. 5 1/2 in. Note: base drilled. $700/1000

257A. Newcomb College Art Pottery Low Bowl, 1924, decorated by Henrietta Bailey with relief-carved Japanese anemone design, matte glaze with blue, green, pink and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer potter's mark, reg. no. NW24, and shape no. 313, h. 2 1/2 in., dia. 9 in. Note: Tezcuco Plantation (Burnside, LA) sticker on base. $1000/1500

258. Clarence Millet (American/Louisiana, 1897-1959), "St. Louis Cathedral, Rainy Day", oil on board, signed lower left, titled en verso, 13 in. x 10 1/2 in., framed. $3000/5000

259. 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. $3000/5000
Provenance: Henry Plauché Dart (1853-1934), thence by descent; Estate of Jane and Stewart Maunsell.

260. Morris Henry Hobbs (American/New Orleans, 1892-1967), "Tending the Garden, Vieux Carré Patio", oil on canvas, signed lower left, stamped "Devoe" on stretcher bar, 18 in. x 14 in., period frame. $1000/2000
Provenance: Estate of the artist, Mandeville, LA; descended in the family.

261. Alberta Kinsey (American/New Orleans, 1875-1952), "French Quarter Courtyard", oil on canvas laid down, signed lower left, 17 in. x 12 1/2 in., framed. $800/1200

262. Louis Oscar Griffith (American/Indiana, 1875-1956), "Shadows (Southern Shanty)", watercolor on paper, signed lower right, sheet 13 3/4 in. x 20 in., framed. $600/800

263. Hunt Slonem (American/Louisiana, b. 1951), "Metallic Bunnies", 2015, oil on wood panel, signed and dated en verso, 27 1/4 in. x 23 1/2 in., framed. $3000/5000

264. Jose-Maria Cundin (Spanish/New Orleans, b. 1938), "Untitled", 1968, oil on canvas, signed and dated lower center, 56 1/4 in. x 44 1/2 in., framed. $15000/25000

265. Cordray Parker (American/Alabama, 1934-2007), "Daphne", bronze, driftwood and mixed media, h. 65 in., w. 45 in., d. 32 in. $3500/5500

266. Gene Koss (American/New Orleans, 20th c.), "Ridge Road Climb", 2002, glass, signed, titled and dated lower left by base, h. 15 1/2 in., w. 10 1/2 in., d. 3 in. $2000/3000
Provenance: Arthur Roger Gallery, New Orleans, 2002.

267. Hunt Slonem (American/Louisiana, b. 1951), "The Witness: Trip-Tic", 1995, triptych oil on canvas, 2 panels signed, dated and inscribed "Trip-Tic" en verso, 78 in. x 186 in., unframed. $7000/10000
Note: In the monumental work offered here of 1995, Hunt Slonem departs from his characteristic bold, colorful palette to instead utilize metallic, almost lustrous, colors and muted earth tones to convey a mysterious and supernatural quality. Hidden within the lush texture of the brushstrokes and lines are symbols – a bird, handprint or face seem to appear and disappear depending on the location of the viewer and the angle of the light source. The scale of the painting envelopes the viewer in Slonem’s mystical world, both sublimating the energy of the space around it and providing moments of pure transcendence. Slonem’s style as seen here and perfectly described by Donald Kuspit is: “the epitome of modern baroque – a kind of generic distillation of tactile painterliness, elusively recessive space, wide-open form, freewheeling unity, and incidental clarity, all rearticulated, indeed, thoroughly reworked, in the terms of modernist abstract."
Ref.: Kuspit, Donald B. Hunt Slonem – An Art Rich and Strange. New York: Harry N. Abrams, 2002. Nahas, Dominique. The Worlds of Hunt Slonem. New York: The Vendome Press, 2011.

268. Lin Emery (American/New Orleans, b. 1928), "Cadence (Aerial)", 1986, polished aluminum, signed on base, h. 56 in. $25000/35000
Note: In the lot offered here, the sleek blade-like aluminum elements of Lin Emery’s “Cadence” sail through the air with nimble precision. Originally a study for the monumental work of the same name installed in Lisle, Illinois, this work maintains the elegant gravitas of its larger counterpart. Many of her wind driven kinetic works draw inspiration from natural forms, however in the case of “Cadence”, “[t]he reference is less to leaves or stalks than to the wind itself.”
Ref.: Palmedo, Philip F. Lin Emery. Manchester: Hudson Hills, 2011, p. 85.

269. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), "Quartered", 1981, color silkscreen, pencil-signed, titled, dated and inscribed "WP2/4" lower margin, sheet 35 in. x 38 in., framed. $2000/3000

270. Robert Rector (American/Louisiana, b. 1946), "Untitled", acrylic on canvas, signed lower center, 24 in. x 52 in., framed. $1000/1500

271. Hunt Slonem (American/Louisiana, b. 1951), "Bayou Teche", 2013, oil on wood panel, signed and dated en verso, 25 1/2 in. x 29 3/4 in., framed. $2500/3500

272. Manuel Neri (American/California, b. 1930), "Passage, Maquette II", 1996, bronze with patina, signed, dated and numbered "1/4" on self-base, "Galerie Simonne Stern, New Orleans" label with artist and title under base, h. 24 in., w. 6 in., d. 8 in. $3000/5000
Provenance: Galerie Simonne Stern, New Orleans, 1998; Koch Collection, Metairie, LA.
Note: While the human form is one that has been studied and executed by artists since the genesis of Western art, Manuel Neri’s take on figurative sculpture is intensely poignant. With a painter’s eye and aesthetic, he is able to incorporate those related characteristics into his three-dimensional works. As Hilton Kramer points out in his 1981 New York Times review of Neri’s solo show at the Cowles Gallery, “[w]hat distinguishes Mr. Neri's art is the way he has combined the traditional nude figure with the interests of painting. While his conception of the figure tends to be classical, his painterly sensibility is decidedly Expressionist. There is thus an extraordinary tension - or, if you will, a dialectic - built into the very crux of his style. This gives the work a very individual dynamism, even if at times it also leaves us with the impression of something teetering on the brink of dissolution.”
In the lot offered here, the sense of impending dissolution is nearly palpable. The fragile humanoid figure appears to be emerging from its surroundings, and Neri highlights the tension between animation and stagnation. The sculpture’s coarse surface and incomplete form is reminiscent of the rough brushstrokes of a quick painting sketch, while as a whole remaining remarkably complete and well balanced.
Ref.: Kramer, Hilton. “Art: First Solo Show for Manuel Neri”. The New York Times. Feb. 27, 1981. Accessed July 26, 2017.

273. Mary Lee Eggart (American/Louisiana, 20th c.), "Flock #76/Mallard Diptych", 1985, colored pencil on paper, pencil-signed, titled and dated lower margins, overall sight 39 in. x 22 in., framed together. $1000/1500

274. Thor Carlson (American/New Orleans, 20th c.), "Red Tower", painted cast metal, unsigned, h. 82 in., w. 11 1/2 in., d. 12 1/2 in., stacked painted concrete base, overall h. 94 in. $500/800

275. Thor Carlson (American/New Orleans, 20th c.), "Abstract Form", painted cast metal, unsigned, h. 67 in., w. 23 in., d. 24 1/2 in. $500/800

276. Steele Burden (American/Louisiana, 1900-1995), "Roosters", crackle glazed ceramic, incised "SB" initials on base, h. 2 1/2 in., w. 6 1/2 in., d. 4 1/2 in. $400/600

277. Pat Trivigno (American/New Orleans, 1922-2013), "Untitled: Abstraction in Red, Brown and Black", acrylic on canvas, signed lower right, inscribed "Lauria Canvas" en verso, 50 in. x 40 1/4 in., original frame. $1000/1500

278. Hunt Slonem (American/Louisiana, b. 1951), "Fox", 1982, oil on canvas, signed, dated and titled en verso, 74 in. x 101 in. $6000/8000

279. Robert Rector (American/Louisiana, b. 1946), "Diptych", 2 acrylics on canvas, each signed lower right, overall 66 in. x 88 in., framed. (2 pcs.) $3000/5000

280. Conrad Albrizio (American/Louisiana, 1894-1973), "Devil and Angel with a Rabbit and Snake", oil on canvas, signed lower right, "Gilley's Gallery, Baton Rouge, LA" label en verso, 30 in. x 26 in., framed. $1000/1500

281. Jose-Maria Cundin (Spanish/New Orleans, b. 1938), "El Escibalo", 1970, oil on canvas board, signed, dated and inscribed upper left, 9 1/2 in. x 8 in., framed. $1200/1800

282. American School, mid-19th c., "Still Life with Fruit", oil on canvas, initialed "A.K." en verso with New York canvas stencil, 30 in. x 24 in., period gilt frame. $800/1200
Provenance: Estate of Jane and Stewart Maunsell.

283. American School, 1881, "Still Life of Peaches", oil on canvas, monogrammed and dated lower left, inscribed "painted by / Sam[uel] H. West / 1881" en verso, 8 1/4 in. x 10 in., framed. $1000/1500

284. Marcus Elbeco (American, 20th c.), "Still Life of Flowers", oil on canvas, signed lower right, 30 in. x 24 in., framed. $500/800

285. American School, early 19th c., "Portrait of Sarah Dodge (1801-1869)", 1824, oil on canvas, dated and inscribed en verso, 27 in. x 22 1/2 in., framed. $700/1000
Note: Sarah Dodge was born to Jacob Dodge and Elizabeth Rawson of Sutton, Massachusetts in 1801. She was the oldest child of seven and lived in Massachusetts her entire life, never marrying. On her mother’s side, Dodge was the great-great-great-granddaughter of Edward Rawson (b. 1615), the first Secretary of the Massachusetts Bay Colony, whose portrait by the Freake Artist of Boston is in the collection of the New England Historic Genealogical Society.

286. French School, early 19th c., "Classical Male Nude Study", conté crayon on paper, dated "Le 27 Fev. 1829", sight 19 in. x 15 1/2 in., framed. $700/1000

287. Continental School, 1829, "The Music Lesson", oil on canvas, signed "Me de Percel", dated and indistinctly inscribed lower left, 19 1/4 in. x 16 in., framed. $800/1200
Provenance: Estate of Jane and Stewart Maunsell.

288. Simon Jacobus Mak Van Waay (Dutch, 1804-1880), "Landscape with Cow, Goat and Sheep", oil on glass, unsigned, "Kunstveilingen/S.J. Mak Van Waay/ (H.S. Nienhuis)/ Collectie Prof Dr W. Mengelberg" label en verso, 9 1/2 in. x 14 3/4 in., framed. $600/800

289. Continental School, 19th c., "Young Beauty Seated within a Landscape", reverse oil on mirrored glass, unsigned, 12 in. x 7 in., framed. $400/600

290. John Gould (British, 1804-1881), "Rhamphomicron Olivaceum" and "Erochemis Squamata", 2 hand-colored lithographs, from Hummingbirds, sights 19 1/2 in. x 14 in., framed. (2 pcs.) $500/700

291. Paul Landacre (American/Ohio, 1893-1963), "Conflict", wood engraving, pencil-signed, titled and numbered "17/50" lower margin, "Red Petral" Landacre estate stamp lower right margin, "Origin of Art" stamp en verso, 8 1/2 in. x 6 in., matted. $700/1000

292. Fritz Eichenberg (German/American, 1901-1990), "The Diary of a Country Priest", 1986, printed by The Limited Editions Club, New York, portfolio of 5 original woodblock prints, each pencil-signed and numbered "8/50", marbleized hardcover folio, 12 1/2 in. x 9 3/4 in. $400/600

293. George Biddle (American/Pennsylvania, 1885-1973), "Catfish Row", 1936, lithograph, unsigned, edition of 200 by American Artist's Group, sight 9 1/2 in. x 12 in., framed. $500/700

294. Robert Rector (American/Louisiana, b. 1946), "Fire" and "Peripheria", 2 lithographs, each pencil-signed, titled and numbered "16/85" and "21/85", lower margin, "Fire" dated "'99", sights 20 1/2 in. x 16 in. and 17 in. x 14 in., framed. (2 pcs.) $600/800

295. Walter Ronald Locke (American/Florida, 1883-1949), "Hickory' Anclote River, Fla.", 1936, etching, pencil-signed, dated and titled lower margin, "LeMieux Galleries, New Orleans" label en verso, 11 3/8 in. x 8 7/8 in., framed. $300/500

296. Walter Ronald Locke (American/Florida, 1883-1949), "Edge of the Pines, Fla.", 1938, etching, pencil-signed, dated and titled lower margin, "LeMieux Galleries, New Orleans" label en verso, 12 1/4 in. x 9 1/4 in., framed. $300/500

297. Walter Ronald Locke (American/Florida, 1883-1949), "Glorious Eucalyptus", 1938, etching, pencil-signed, dated and titled lower margin, "LeMieux Galleries, New Orleans" label en verso, 9 7/8 in. x 12 7/8 in., framed. $300/500

298. William C. Odiorne (American/Illinois, 1881-1978) "Cathedral from Royal St.", "Old Mortgage Office", "St. Anthony's Alley", and "The Old Mortgage Office", 1922, 4 silver gelatin prints in paper folio, each titled, dated and artist copyright stamp en verso, 6 1/4 in. x 7 1/4 in. $200/300. to 8 1/4 in. x 6 1/4 in

299. George Frederick Castleden (British/American, 1861-1945), "The Atlantic, Folly Beach, Charleston, S. Carolina", 1937, watercolor on paper, signed lower left, titled, dated and inscribed en verso, 10 1/4 in. x 14 1/2 in., unframed. $1000/1500

300. George Frederick Castleden (British/American, 1861-1945), "The Old Spanish Cathedral, St. Augustine, FL", watercolor on paper, signed lower right, titled and inscribed en verso, 13 in. x 9 1/2 in., unframed. $1000/1500

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