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Information below is the lot/description information from our Winter Estates Auction, January 26 & 27, 2019. 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. Large Sèvres-Style Polychrome Porcelain Covered Urn, late 19th c., painted with Cupid and Amore, signed "A. Maglin", h., 33 1/2 in., dia. 8 1/2 in.; formerly fitted as a lamp, cover now attached. $800/1200
Note: Maglin's quality of painting was celebrated and exhibited at numerous exhibitions, incl. the 1894 Midwinter International Exposition, San Francisco, CA.

202. Two Anglo-Indian Carved and Inlaid Hardwood Tabourets, 19th c., each leaf and vine carved top with central brass inlaid foliate center, octagonal paneled highly carved sides, shaped feet, h. 28 in., dia. 18 in.; second table with one inlay, h. 24 in., dia. 24 in. $600/800

203. Napoleon III Boullework and Ebonized Bureau Plat, c. 1860, top with brass inlay in foliate and scroll design, gadroon edge, frieze drawer, square tapered legs, incurvate X stretcher, spade feet, h. 31 in., w. 55 1/4 in., d. 35 1/4 in. $2500/4000
Provenance: Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.

204. Directoire Brass-Mounted Mahogany Demilune Games Table, 19th c., triple folding top, one interior top polished mahogany, the other baize-lined, tapered stop-fluted legs, cuff casters, h. 31 1/2 in., w. 43 1/2 in., d. (closed) 21 1/4 in., d. (open) 43 1/2 in. $800/1200

205. Fine Louis XVI-Style Parquetry Bonheur du Jour, 19th c., superstructure fitted with a clock, antique book spines, and three small drawers, inset leather writing surface, frieze drawer, cabriole legs, sabots, h. 44 in., w. 39 in., d. 24 in. $1200/2000

206. Antique William and Mary-Style Oyster Veneer Chest of Drawers, probably 19th c., molded top, three graduated drawers, molded base, bracket feet, h. 33 1/2 in., w. 37 in., d. 18 1/2 in. $1500/2500



207. Anglo-Colonial Ebonized and Inlaid Amboyna Campaign Secretary, early-to-mid 19th c., India, possibly Vizagapatum, pedimented cornice centered by a vasiform finial, paneled doors open to a fitted interior, lower case with sliding top, divided interior, six drawers, ring-turned feet, h. 63 in., w. 41 1/2 in., d. 23 in. $4000/6000
Provenance: The Stanley Weiss Collection, Providence, RI.
Note: The high-style and rare campaign desk offered here is a superb example of British Colonial furniture crafted in India. In the Hepplewhite taste, the desk features exotically figured amboyna wood and inlaid and ebonized embellishment, which sets it apart from most British campaign examples. The overall proportions and versatility of the present lot relate closely to an example illustrated in British Campaign Furniture by Nicholas Brawer.
Ref.: Brawer, Nicholas A. British Campaign Furniture: Elegance Under Canvas, 1740-1914. Abrams, 2001, fig. 52.



208. George III Satinwood-Inlaid Rosewood Pembroke Table, early 19th c., drop-leaf top, frieze drawer, tapered legs, brass cuffs, casters, h. 29 in., w. (closed) 22 1/2 in., w. (open) 42 in., d. 32 in. $1500/2500
Provenance: The Stanley Weiss Collection, Providence, RI.

209. Pair of Faux Marbre Pedestals, molded top, conforming column, molded base, h. 41 in. $500/800
Provenance: The Friedle-Garrison Collection, New Orleans.

210. Italian Terracotta Figural Bench, paired sphinx ends on molded bases, associated wood slat back and seat, h. 40 1/2 in., w. 88 in., d. 32 in. $1500/2500

211. Pair of Moorish Inlaid Hardwood Tabourets, octagonal top, conforming body decorated with geometric patterns and Arabic script, chamfered legs, h. 34 1/4 in., w. 17 in., d. 17 in. $1200/1800

212. Brass-Bound Mahogany Campaign Desk, 20th c., three frieze drawers on paired X form legs, h. 31 in., w. 48 in., d. 27 in. $400/600



213. French Bronze-Mounted, Inlaid and Parcel Ebonized Walnut Armoire, c. 1800-1840, probably Alsatian, ogee cornice, inlay star motif on pediment, paneled doors flanked by pilasters, checkerboard and pinwheel motif apron, h. 94 1/2 in., w. 62 in., d. 24 1/2 in. $3000/5000
Provenance: Lucullus Antiques, New Orleans; Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.

214. Greg Jordan for Scalamandre Velvet "Bel Air" Sofa, bullion fringe skirt, four matching back cushions, h. 30 in., w. 87 1/2 in., d. 42 in. $1500/2500
Provenance: Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.

215. Manner of Scipione Compagno (Italian, 1624-1685), "Architectural Amateurs Contemplating Ruins beside a Seashore", oil on canvas laid on board, spuriously inscribed "Compano" mid-left, 21 1/4 in. x 28 in., framed. $800/1200
Provenance: The Friedle-Garrison Collection, New Orleans.

216. Clementine Hunter (American/Louisiana, 1886-1988), "Haulin' Cotton", oil on canvas board, monogrammed lower right, 14 in. x 18 in., unframed. $3000/5000

217. Hunt Slonem (American/Louisiana, b. 1951), "Multiply", 2016, oil on panel, signed, titled and dated en verso, 36 1/4 in. x 30 1/4 in., framed. $4000/6000

218. Hunt Slonem (American/Louisiana, b. 1951), "Luna", 2013, oil on panel, signed, titled and dated en verso, 27 7/8 in. x 22 in., framed. $3000/5000

219. John Clemmer (American/New Orleans, 1921-2014), "Coup d'oeil", oil on canvas board, signed lower right, 2 labels with artist and title en verso, 18 1/4 in. x 24 1/4 in., framed. $1200/1800



220. Modern Carved Marble Figural Sculpture, h. 41 in., w. 22 in., d. 9 3/4 in. $1500/2500



221. Robert Malcolm Rucker (American/Louisiana, 1932-2001), "French Quarter Jazz Club", oil on canvas, signed lower right, 24 in. x 30 in., framed. $2000/



222. William Woodward (American/Louisiana, 1859-1939), "New Orleans Courtyard", oil on canvas, signed lower left, 20 in. x 16 in., framed. $3000/

223. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), "Synthesis #49-2", 1984, mixed media on canvas, signed and dated lower center, "Sotheby's" and artist labels with title and date on stretcher, 57 in. x 70 1/4 in., framed. $20000/30000
Provenance: Gimpel & Weitzenhoffer Gallery, New York; Sotheby's New York, Arcade, lot 469, Sept. 29, 1994; Collection of BNP Paribas.



224. Fritz Bultman (American/New Orleans, 1919-1985), "Interior - Game", 1952, oil on canvas, monogrammed "FB" lower right, signed, dated "Aug 1952" and titled en verso, 30 in. x 38 in., framed. $20000/30000
Provenance: Gift of the Artist, c. 1950s; Private Collection, Uruguay.
Exh.: Kootz Gallery, New York, Sept. 15 - Oct. 4, 1952, no. 11.
Note: Among the leading artists of the Abstract Expressionist generation, Fritz Bultman joined the "Irascibles" in 1950, signing a letter to the heads of the Metropolitan Museum of Art protesting the conservative nature of their exhibitions. However, Bultman missed the Life magazine famous photograph of the group in 1951, as he was studying sculpture in Italy at the time. By 1952, Bultman and his wife returned to New York City, where he became increasingly involved in the city’s vibrant art scene and taught at Pratt Institute until 1959. By the time of "Interior – Game" offered here from 1952, Bultman had transitioned from his earlier works based on mythological themes such as that of Actaeon, although hints of these myths may subtly remain in the aggressive nature of the elements vying within the composition. The bold color palette of reds and yellows are pitted against a network of black lines, hinting at the struggle between structure and chaos and the influences of gestural painting.
Bultman’s upbringing in New Orleans remains within his works, with fire and heat represented by the color red a common element. The artist recalled the burning of the swamps in Louisiana as a boy: "What appears to be a sheet of water will be burning with very high flames against a blue sky – I don’t know anything else that seems to me as beautiful as that…It’s fire and water. You very seldom see them together in such close juxtaposition as you do when they are burning a swamp."
In addition to the use of color, a similar combination of circles and cruciform configurations to those seen in this painting appear throughout his work from the period, including one similarly titled "Interior Rain" of 1953. These meticulously crafted compositions bridge nature and personal narrative and set Bultman apart from his contemporaries. Bultman’s work was described by a critic in 1950 as having a "blood on the moon fierceness that strikes at the heart," and the painting offered here is no exception.
Ref.: Andrew, Jason. "Blood on the Moon Fierceness: Fritz Bultman’s Paintings and Collages." Hyperallergic. Apr. 29, 2013. www.hyperallerigc.com. Accessed Dec. 17, 2017. Gruber, J. Richard. "Fritz Bultman." Encyclopedia of Louisiana. Sept. 12, 2012. www.knowlouisiana.org. Accessed Dec. 17, 2017. Kingsley, April and Fritz Bultman. Fritz Bultman: A Retrospective. New Orleans: New Orleans Museum of Art, 1993.

225. William Woodward (American/Louisiana, 1859-1939), "French Quarter Balcony Scene with Laundry", 1935, graphite on paperboard, signed and dated lower right, 8 in. x 10 in., framed. $800/1200

226. William Woodward (American/Louisiana, 1859-1939), "French Market Scene", 1933, graphite on paperboard, signed and dated lower left, 10 in. x 6 1/2 in., framed. $800/1200



227. George Rodrigue (American/Louisiana, 1944-2013), "Jolie Blonde Holding a Rose", oil on canvas, signed lower right, signed en verso, artist stamp and inscribed on stretcher, 24 in. x 18 in., framed. $15000/25000
Note: Local legend claims that a Cajun imprisoned in Port Arthur, Texas in the 1920s wrote a waltz pining for his lost love who had left him for another...

Pretty blonde, look at what you've done
You left me to go away
To go away with another, instead of me
What hope and what future am I going to have?


The song eventually became a Cajun anthem of sorts, reminiscent of a modern day Evangeline story. The romantic myth of the song's origins no doubt appealed to George Rodrigue, as he depicted Jolie Blonde, meaning "pretty blonde," more than one hundred times during his career. Over the years, Rodrigue utilized numerous models, placing Jolie Blonde at first in his classic bayou landscapes and later in more contemporary settings.

228. Attributed to Steele Burden (American/Louisiana, 1900-1995), "Sugar Mill and Cabins", oil on canvas board, unsigned, 8 in. x 10 in., framed. $1000/1500

229. Attributed to Steele Burden (American/Louisiana, 1900-1995), "Steamboat at Baton Rouge Landing", oil on canvas board, unsigned, 10 in. x 8 in., framed. $1000/1500

230. George Rodrigue (American/Louisiana, 1944-2013), "Totem Dogs", 1991, acrylic on canvas, signed lower left, 105 in. x 47 in., framed. $100000/150000
Provenance: Rodrigue Studio, Carmel, CA.
Ill.: Rodrigue, George. Blue Dog Speaks. New York: Sterling, 2008, pp. 240-41.

231. George Rodrigue (American/Louisiana, 1944-2013), "Seated Jolie Blonde with Hat", oil on canvas, signed lower left, inscribed on stretcher bar, 24 in. x 18 in., framed. $15000/25000



232. Will Hinds (American/Louisiana, 1936-2015), "Cabbage Patch", 1969, oil on canvas, signed and dated lower right, artist stamp en verso, 16 in. x 20 in., framed. $1200/1800

233. Will Hinds (American/Louisiana, 1936-2015), "Fishing Shack", 1970, oil on canvas, signed and dated lower right, artist stamp en verso, 20 in. x 24 in., framed. $1500/2500



234. William Henry Buck (Norwegian/New Orleans, 1840-1888), "Louisiana Plantation along Lake Pontchartrain", oil on canvas, unsigned, 10 in. x 16 in., framed. $25000/35000
Provenance: Private Estate Collection, Birmingham, AL. Descended in the family of William Henry Buck; Neal Auction Company, April 16, 2001, lot 365.
Note: A student of Richard Clague, William Henry Buck developed his skills on plein air sketching excursions with his mentor and artists such as Andres Molinary and Marshall Joseph Smith, Jr. These trips, many along the shores of Lake Pontchartrain, were undoubtedly influential on the development of Buck's distinctive use of lighting effects and evocative atmosphere, as seen in the charming work offered here. Buck achieved a recognizable and engaging compositional style which makes his work clearly discernable from that of his contemporaries.
This scene of Louisiana plantation life along Lake Pontchartrain was almost certainly inspired by his sketching trips and is an excellent example of Buck’s talent at depicting minute detail. The viewer gazes on the backland of a plantation with various pursuits on display. Cattle graze along the shore near a schooner anchored in the lake. Two figures sit in a pirogue on the bayou while others cross the bridge. In addition to the cabin in the foreground, other buildings related to the workings of the plantation are grouped together in the background. The stretcher bars of this painting indicate the size by paint script number inscriptions in an identical hand as the Buck painting sold from the same family collection at Neal Auction Company on Feb. 12, 2011 as lot 309.

235. Clementine Hunter (American/Louisiana, 1886-1988), "Pecan Picking", oil on canvas board, monogrammed lower right, partial sketch and inscribed en verso, 18 in. x 24 in., framed. $3000/5000

236. Eugène Claude (French, 1841-1922), "Still Life of Grapes, Peaches and Wine", oil on canvas, signed lower left, 25 1/2 in. x 19 1/4 in., framed. $1000/1500



237. Yolande Ardissone (French, b. 1927), "Goury (Cotentin)", oil on canvas, signed lower left, titled on stretcher, 10 3/4 in. x 14 in., framed. $600/800



238. Clarence Millet (American/New Orleans, 1897-1959), "Bayou Landscape", oil on canvas laid on board, signed lower left, 14 7/8 in. x 17 3/4 in., framed. $2500/3500

239. James McConnell "Mac" Anderson (American/Mississippi, 1907-1998), "Pitcher Plant", 1981, oil on masonite, signed and dated lower right, 24 in. x 16 in., framed. $2500/3500

240. James McConnell "Mac" Anderson (American/Mississippi, 1907-1998), "Landscape with Fisherman in Boat", 1990, oil on masonite, signed and dated lower right, 16 in. x 24 in., framed. $1200/1800

241. Roger Tory Peterson (American/New York, 1908-1996), "Roseate Spoonbills", watercolor and gouache on paper mounted to board, signed upper right, "Pioneer-Moss" label under matting, sight 18 3/4 in. x 13 1/2 in., matted. $3000/5000

242. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), "Menorah", 1995, mixed media, signed and dated on underside, h. 24 in., w. 23 1/2 in., d. 6 in. $2000/3000

243. William Woodward (American/Louisiana, 1859-1939), "Toulouse from French Opera", 1934, etching, signed and dated in plate lower left, pencil-signed lower right, sheet 10 7/8 in. x 14 5/8 in., framed. $800/1200

244. Clementine Hunter (American/Louisiana, 1886-1988), "Funeral Procession", oil on stretched window shade, monogrammed lower right, 28 3/4 in. x 32 in., framed. $4000/6000



245. Jose-Maria Cundin (Spanish/New Orleans, b. 1938), "The Corrupt", 1970, double-sided oil on canvas, signed and dated upper left, sight 20 1/2 in. x 17 1/2 in., framed. $5000/7000

246. George Valentine Dureau (American/New Orleans, 1930-2014), "Standing Bart", 1993, mixed media on paper, signed and dated lower left, sight 49 in. x 37 in., framed. $2500/3500
Provenance: Estate of Bart Truxillo.

247. James McConnell "Mac" Anderson (American/Mississippi, 1907-1998), "Island Picnic", 1992, oil on masonite, signed and dated lower right, titled and inscribed on label en verso, 24 in. x 16 in., framed. $1200/1800

248. David Harouni (Iranian/New Orleans, b. 1962), "Untitled (Woman)", oil on canvas, signed lower right, 36 in. x 36 in., framed. $3000/5000



249. Bror Anders Wikstrom (Swedish/Louisiana, 1854-1909), "Fishing Boats", oil on canvas, signed lower right, 12 in. x 17 in., framed. $3000/5000
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.



250. Wouterus Verschuur (Dutch, 1812-1874), "Preparing for the Hunt", oil on canvas, signed lower right, 44 1/4 in. x 63 1/4 in., antique frame. $10000/15000
Provenance: Private Collection, Florida.
Note: Wouterus Verschuur, a Dutch artist born in Amsterdam to a jeweler father, became one of the premier animal painters of his time; he was particularly renowned for his depictions of horses. Studying under Pieter Gerardus Van Os, Verschuur was influential in the training of Anton Mauve, as well as his own son, Wouterus Verschuur, Jr. The Van Os School taught many generations of Dutch artists collectively known as the forerunners of the Hague School, and they were particularly well-versed in the anatomy of sheep, cows, horses, dogs, and other animals. The monumental painting offered here displays Verschuur’s talent with the portrayal of horses in motion. The artist perfectly captures the movement of the rearing horse in the foreground, as well as creating a well-composed and complex scene including dogs and hunters.

251. Knute Heldner (Swedish/Louisiana, 1877-1952), "Still Life with Lemon and City Street in Background" and "Self-Portrait of the Artist", doubled-sided oil on panel, signed en verso, 22 1/2 in. x 16 1/8 in., framed. $3000/5000
Note: After immigrating from Sweden to the United States, Knute Heldner settled in Minnesota, working as a cobbler, dishwasher, and cook for a lumber camp until he could afford to attend the Minneapolis School of Fine Arts. This rare, double-sided painting may have been completed during this time period, making it a key early work in the artist’s career. Depicting a street scene with a lemon and daisy plant still life in the foreground, Heldner was likely painting the view from his apartment or studio window. On the reverse, a self-portrait of the young artist before he grew his iconic beard regards the viewer with a pensive gaze. This fascinating work by Heldner demonstrates his early interest in street scenes, many of which he would later paint in New Orleans, and also provides an enigmatic glimpse of the young artist.

252. Alexander John Drysdale (American/New Orleans, 1870-1934), "Bayou Scene with Live Oaks", 1915, oil wash on board, signed and dated lower left, 20 in. x 29 3/4 in., framed. $2000/3000

253. Alexander John Drysdale (American/New Orleans, 1870-1934), "Autumn Evening on a Bayou", 1921, oil wash on board, signed and dated lower left, signed, titled, dated and inscribed en verso, 20 in. x 29 3/4 in., framed. $1500/2500

254. Bernard Buffet (French, 1928-1999), "Mon Cirque: L'Éléphant", 1968, color lithograph, pencil-signed lower right, pencil-numbered "92/100" lower left, titled en verso, from the Mon Cirque Suite, 28 1/4 in. x 20 in., framed. $500/700



255. Joseph Jefferson IV (American/Louisiana, 1829-1905), "Landscape with Bayou Bridge and Girl with Ducks", oil on board, signed lower right, 14 in. x 20 1/2 in., framed. $1000/1500



256. Julian Oliver Davidson (American/New York, 1853-1894), "Monitor and Merrimac: First Fight Between Ironclads", 1885, oil on canvas, signed and dated lower right, titled, dated, inscribed and "F.W. Devoe & Co." canvas stamp en verso, 15 in. x 21 1/2 in., framed; together with chromolithograph of same by L. Prang & Company, Boston, copyright 1886, sight 15 in. x 21 1/2 in., framed. (2 pcs.) $8000/12000
Note: Julian Davidson developed an interest in ships from a young age, traveling often to Cuba where his father’s engineering firm was constructing the Havana railroad. His earliest sketches of nautical subjects began during his apprenticeship with his father at the age of sixteen, and by age seventeen, Davidson joined the crew of the steamship Arizona. He later studied art in New York with Mauritz de Hass, expanding his repertoire to include historic battle scenes.
Davidson quickly became known as one of America’s leading marine painters and Harper’s magazine printed many of his illustrations. Well-known publishers, including Louis Prang, were aware of Davidson’s talent and appeal, and they commissioned him to paint original works of which they produced popular limited editions lithographs. The two original oils offered here were part of this commission, each lot including the corresponding lithograph printed by Prang.
The two scenes are depictions of well-known Civil War battles: one representing the capture of New Orleans by Admiral David Farragut’s fleet, and the other portraying the first naval battle between two ironclad warships, the Monitor and the Merrimack. Each painting is rendered in fine detail, displaying Davidson’s historical knowledge and technical skill at producing maritime battle paintings.



257. Julian Oliver Davidson (American/New York, 1853-1894), "Capture of New Orleans: Farragut Passing the Forts by Night", 1886, oil on canvas, signed lower left, 15 in. x 21 1/2 in., framed; together with chromolithograph of the same by L. Prang & Company, Boston, copyright 1886, sight 15 in. x 21 1/2 in., framed. (2 pcs.) $8000/12000

258. 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.



259. [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.



260. 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.

261. Reinier and Joshua Ottens, "Untitled" [Gulf of Mexico], Amsterdam, 1741, hand-colored sheet from the large map "Grand Theatre de la Guerre en Amerique...", this sheet noted for its depiction of Texas, 17 5/8 in. x 22 1/8 in., unframed. $1500/2500
Provenance: Philadelphia Print Shop, Phil., PA, 2003.

262. Philippe Buache, "Carte d'Une Partie de l'Amerique pour la Navigation des Isles et du Golfe du Mexique avec l'interieur des Terres depuis Bermude jusqu'a Cayenne", Paris, 1740, hand-colored map, based on Popple's well-known large-scale map, 19 3/4 in. x 36 1/2 in., unframed. $1500/2500
Provenance: Alexandre Antique Maps, Toronto, Ontario, Canada, 2003.

263. 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

264. 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.

265. Russian Cyrillic Six-Inch Terrestrial Globe, 19th c., published by Alexey Ilyn, St. Petersburg, all in Cyrillic, brass half-meridian, on turned, ebonized stand, h. 13 1/2 in. $800/1200



266. English Satinwood Inlaid Mahogany Stick Barometer, 19th c., marked "F. Baserga & Co., Fecit", scale also incorporating a thermometer, h. 37 in., w. 5 1/2 in., d. 2 1/4 in. $1200/1800



267. William and Mary Carved Beechwood and Caned Armchair, c. 1700, arched crest rail, scrolled ears, turned stiles, scrolled arms, turned legs and stretchers, "Spanish" feet, h. 48 1/2 in., w. 22 in., d. 20 in. $1000/1500
Provenance: The Stanley Weiss Collection, Providence, RI.

268. Pair of Continental Carved Pine Figural Pedestals, 19th c., each with circular top, cupids with quiver of arrows, foliate plinth, ogee molded hexagonal base, h. 32 in., w. 11 in., d. 11 in. $500/750



269. American Chippendale Birch Low Chest, late 18th c., Southern, molded top, two drawers over three long drawers, bracket feet, h. 30 3/4 in., w. 35 in., d. 21 in. $2500/3500
Provenance: The Stanley Weiss Collection, Providence, RI.

270. Pair of Neo-Grec Paris Porcelain Vases, early-to-mid 19th c., polychrome decorated with Attic-style warriors and Classical nudes on a matte black ground, h. 16 1/2 in. $2000/3000
Provenance: Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.

271. Near Pair of Dutch Delft Polychrome Pottery Chargers, 18th c., "famille verte" style with green, iron red, and blue floral motifs, dia. 14 in. Note: One foot ring drilled for hanging. $500/700
Provenance: William Word Fine Antiques, Atlanta, GA, Mar. 2013.

272. French Gilt and Enamel Porcelain Fish Service, 19th c., marked "Gutherz, Limoges", incl. platter, 9 1/2 in. x 24 in., and 10 plates, dia. 8 1/2 in. $700/1000

273. English Aesthetic Movement Bamboo Pattern Foot Basin with Matching Pitcher, late 19th c., Minton, foot basin h. 9 1/2 in., w. 15 in., d. 13 in.; pitcher h. 12 in. $700/1000

274. Sevres Soft Paste Porcelain Basket, 1754 date-letter, hand-painted polychrome floral and garland motif, uppercase "A" enclosed within interlaced royal cipher mark, h. 2 3/4 in., dia. 9 in. $300/500

275. Pair of Rock Crystal Compotes, swirled gadrooned design, unmarked, h. 5 in., dia. 9 in. $1200/1800

276. Continental Carved Giltwood Archangel Pricket Candlestick, 18th c., tall plinth base, h. 34 1/2 in., w. 16 3/4 in., d. 10 in. $1000/1500
Provenance: Williamson-LeBlanc Collection, Cornstalk Fence House, New Orleans.

277. Sevres-Style Bronze-Mounted Porcelain Vase, 20th c., swan handles, cobalt ground, raised gilt decoration, eagle feet, h. 12 1/4 in., w. 9 3/8 in., d. 7 1/2 in. $600/800

278. Pair of Egyptianesque Inlaid Wall Panels, 20th c., with copper, brass, mother-of-pearl and bone inlays, h. 30 1/2 in., w. 53 3/4 in., d. 1 3/4 in. $1000/1500

279. Pair of Italian Carved and Polychromed Cherub Candlesticks, 19th c., traces of old red and white paint, h. 13 1/2 in., w. 7 1/2 in., d. 4 1/2 in. $400/600

280. Antique Empire-Style Gilt Bronze and Crystal Six-Light Chandelier, c. 1900, foliate mounts, diamond cut bowl, electrified, h. 23 in., dia. 21 in. $2000/3000
Provenance: Kevin Stone Antiques.

281. Pair of French Crystal and Bronze Six-Light Girandole Lamps, c. 1900, tree-form standard, tripartite base, electrified, h. 29 in., dia. 19 in. $1200/1800

282. Rare Pair of Chinese Export Paktong or Pewter Figural Pricket Candlesticks, 19th c., modeled as Dutchmen standing on square plinths, bases with rubbed marks, h. 11 7/8 in., w. 4 3/8 in., d. 4 3/8 in. $400/600

283. Paris Porcelain Luncheon Service, 19th c., decorated with green and gilt concentric bands and monograms, incl. soup tureen, h. 12 in., w. 12 1/2 in.; 2 covered vegetables, h. 6 1/2 in., w. 10 1/4 in.; 2 oval platters, l. 13 in.; 4 round platters, dia. 11 1/8 in. to 12 in.; gravy boat and underplate, l. 10 in.; shell-form dish, l. 8 1/2 in.; 30 plates, dia. 8 3/4 in.; and 8 soups, dia. 8 3/4 in. (49 pcs.) $800/1200

284. French School, 19th c., "Les Courses à Vincennes", oil on canvas, signed "Barillon" lower right, 23 1/2 in. x 36 1/2 in., framed. $1000/1500

285. Paul Emile Lecomte (French, 1877-1950), "Harbor Scene", oil on canvas, signed lower right, 25 1/4 in. x 31 3/4 in., framed. $1500/2500



286. British School, 19th c., "Women Listening to Lute Playing in a Garden", oil on canvas, signed "L. Peres" lower right, 25 in. x 30 1/4 in., framed. $2000/3000



287. Lilian Stannard (British, 1877-1944), "Shady Walk in a Yorkshire Garden", watercolor on paper, signed lower right, artist and title on label on backing board, 14 in. x 10 in., framed. $700/1000



288. Vincente de Garcia Paredes (Spanish, 1845-1903), "Gathering in the Parlor", oil on canvas, signed lower right, 24 in. x 36 in., framed. $2500/3500

289. Colonial American William and Mary Carved Pine Desk, late 17th/early 18th c., probably Southern, slant front top, hinged door opens to interior fitted with two drawers, turned legs, plain stretchers, disc feet, h. 35 in., w. 33 in., d. 24 1/2 in. $1000/2000
Provenance: Williams College, Williamstown, MA; The Stanley Weiss Collection, Providence, RI.

290. American Classical Figured Mahogany Bowfront Chest of Drawers, c. 1830, attr. to Anthony Quervelle, Philadelphia, two drawers over three long drawers, Ionic columnar stiles, acanthine paw feet, h. 46 1/2 in., w. 43 in., d. 22 1/4 in. $2000/3000
Provenance: The Stanley Weiss Collection, Providence, RI.

291. American Maple Ladderback Armchair, c. 1740-1790, five arched splats, ball finialed turned stiles, shaped arms, ball and vasiform turned uprights, rush seat, conforming legs, bulbous-turned medial stretcher, side stretchers, h. 47 1/4 in., w. 23 3/4 in., d. 17 1/2 in. $800/1200
Provenance: Katrina Kipper, Queen Anne Cottage Antiques, Accord, MA, after July 13, 1927; Museum of Fine Arts, Houston, Bayou Bend Collection, gift of Miss Ima Hogg, 1971.

292. American Federal or English Mahogany Tub Chair, early 19th c., tall channeled back, scroll arms, shaped seat rail, square tapered legs, cuff casters, h. 48 1/4 in., w. 26 1/2 in., d. 21 in. $800/1200
Provenance: Collings & Collings, New York, NY, Dec. 30, 1921; Museum of Fine Arts, Houston, Bayou Bend Collection, gift of Miss Ima Hogg, 1969.



293. Anglo-Indian Colonial Carved Rosewood Secretary, mid-19th c., India, flared cornice, upper case carved with elaborate floral motifs, glazed doors, shelf interior; lower case with fitted secretary drawer over three drawers, carved sunburst motif, plinth base, turned feet, h. 77 1/4 in., w. 43 1/4 in., d. 18 in. $3000/5000
Provenance: The Stanley Weiss Collection, Providence, RI.



294. George III Mahogany Library Chair, late 18th/early 19th c., serpentine crest rail, padded arms, molded shaped uprights, molded legs, plain stretchers, h. 38 1/2 in., w. 25 1/2 in., d. 24 in. $1200/2000
Provenance: The Stanley Weiss Collection, Providence, RI.



295. Pair of American or English Giltwood Bullseye Mirrors, early 19th c., surmounted by a carved eagle, molded surround, foliate pendant, h. 42 1/2 in., w. 26 in. $2500/3500
Provenance: Ginsburg & Levy Antiques, New York; The Stanley Weiss Collection, Providence, RI.



296. American or English Queen Anne Carved Mahogany Mirror, 18th c., elegantly carved tall crest, conforming pendant, h. 38 in., w. 19 in. $1500/2500
Provenance: The Stanley Weiss Collection, Providence, RI.

297. American Late Federal Carved and Gilded Mirror, early 19th c., architectonic crest with acorn pendants, eagle and branchwork frieze, paired columnar sides, divided mirror plate, shell carved blocked base, h. 51 in., w. 27 in. $1200/1800
Provenance: The Friedle-Garrison Collection, New Orleans.

298. American Gothic Carved Rosewood Corner Étagère, mid-19th c., attributed to J. & J.W. Meeks, New York, surmounted by a foliate finial, quatrefoil and acorn reticulation throughout, five shaped tiers, pierced bracket feet, h. 80 1/4 in., w. 31 in., d. 22 in. $1000/2000



299. American Classical Bronze-Mounted Marble, Gilded and Stenciled Rosewood Pier Table, early 19th c., New York, marble top and columnar supports, mirrored back panel, shaped plinth, foliate-carved paw feet, h. 37 1/2 in., w. 42 1/2 in., d. 18 1/2 in. $2000/3000
Provenance: The Stanley Weiss Collection, Providence, RI.

300. American Classical Figured Mahogany Bowfront Chest of Drawers, c. 1830, attr. to Anthony Quervelle, Philadelphia, shaped top, four graduated drawers, columnar stiles, acanthine paw feet, h. 46 1/2 in., w. 43 in., d. 22 1/4 in. $2000/3000

Provenance: The Stanley Weiss Collection, Providence, RI.


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