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Information below is the lot/description information from our Winter Estates Auction, February 7th & 8th, 2004. 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.  *Denotes image only available on-line.

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*108. After Adolph D. Rinck (French/New Orleans, b. 1810), “Portrait of Georgine Holmes, daughter of Daniel H. Holmes”, oil on canvas, unsigned, titled and inscribed en verso, J.F. Olsson & Co., Cambridge, Mass. label en verso, Spaudling-Moss Co., Boston stamped en verso, 25 in. x 21 in., in a period giltwood frame. [$1000/1500]
Note: Georgine Holmes (b. 1848) was the eldest daughter of Daniel Henry Holmes, Sr., the founder of the Canal Street department store emporium D.H. Holmes. A businessman, Daniel Holmes divided his time between New Orleans, New York and “Holmesdale,” his grand English Gothic mansion he built in Covington, Kentucky. Holmes met and married Eliza Kenison, a Welsh girl from New Orleans in 1847. As the only surviving daughter, Georgine became the companion to her aging widowed father. Later in her life she, married Dr. Charles H. Thomas of Covington. Probably during a trip to New Orleans, Georgine Holmes had her portrait painted by highly regarded French artist Adolph Rinck.
109. Harry Humphrey Moore (American, 1844-1926), “Portrait of a Young Shepherdess with her Lamb”, oil on canvas, signed lower right, artist plaque on frame, 33 3/8 in. x 21 7/8 in., in an ornate period giltwood frame. [$15000/20000]
Note: In this charming sentimental painting, Harry Humphrey Moore depicts a beautiful young girl dressed as a shepherdess in silks, ribbons and flowers with sheep’s crook in hand and her beloved lamb at her side. Born deaf, Moore studied with famed American artist Thomas Eakins while attending a school for the deaf in Philadelphia. With Eakins’ encouragement, Moore studied in Paris at the Ecole des Beaux Arts with Jean Leon Gerome.
110. Harold Broadfield Warren (American, 1859-1934), “Canadian Rockies”, oil on canvas, signed and dated “1910” lower left, artist plaque on frame, 50 1/2 in. x 38 1/4 in., in a giltwood frame. [$10000/15000]
Note: Harold Broadfield Warren captures the monumentality and grandeur of the unspoiled wilderness of the Canadian landscape in this painting. Born in Manchester, England Warren moved to Boston in 1876 and studied art. An accomplished artist, he was an instructor of watercolor at the School of Architecture at Harvard University for almost twenty years. Warren exhibited with the National Academy of Design and was a member of the American Federation of Arts, the Copley Society and the Boston Society of Arts and Crafts.
111. Susan C. Waters (American, 1823-1900), “A Flock of Sheep”, oil on canvas, signed and dated “1888” lower left, 24 in. x 36 in. [$10000/15000]
Note: A self-taught itinerant artist, Susan C. Waters became well known for both her naïve portraiture and her sympathetic renderings of animals, particularly sheep. Waters exhibited two of her animal paintings at the Philadelphia Centennial Exhibition of 1876. According to her obituary “Her fame after the Centennial was far beyond expectation, causing a continuous receipt of orders impossible to fill.”
112. George da Madeiro Peixotto (American, d. 1937), “A Lady of Lyon”, oil on canvas, signed and dated “Lyon 1882” lower right, 79 in. x 47 1/4 in. [$1000/1500]
*113. Marcel Vertes (Hungarian/American, 1895-1961), “Nature”, set of three color pochoirs on paper laid down on masonite, with stenciled signature lower right, each panel measuring 70 in. x 23 in., unframed. [$1000/1500]
114. George E. Shropshire (American, 20th c.), “New England Countryside”, pair of oils on board, unsigned, 7 3/4 in. x 10 in., in matching frames. [$400/600]
115. Allen Dean Cochran (American, 1888-1921), “Winter Scene”, oil on board, signed lower right, sight 7 in. x 9 1/2 in. [$1200/1800]
394. School of Charles Balthazar Julien Saint-Memin (French/American, 1770-1852), “Portrait of Anne Yeade Smith (1781-1858)”, pencil, charcoal and chalk on pink paper, unsigned, with hand-written labels en verso, 14 1/2 in. x 9 7/8 in., in a giltwood frame with black and gilt eglomise mat. [$4000/6000]

450. Wayman Elbridge Adams (American/New Orleans, 1883-1959), “Still life: The Remains of the Portfolio Club Supper”, oil on canvas, signed “1917” upper right, H. Lieber Co., Indianapolis label en verso, 28 in. x 34 in.; accompanied by a typewritten note signed by Kurt and Edith Vonnegut and a handwritten note from their son Peter Vonnegut, in a period frame. [$6000/9000]
Provenance: Estate of Kurt and Edith Vonnegut.
Note: A typewritten note signed by the writer Kurt Vonnegut and his wife Edith, indicates this painting of a still life was painted on the occasion of a supper at the Portfolio Club in Indianapolis on the evening of January 4th, 1917. The Portfolio Club was founded by famed Hoosier Group artist T.C. Steele’s wife Libbie as a means of uniting the artistic, literary and musical interests of the community. As the club’s newest member, Edith Vonnegut was ceremoniously awarded the tail of the pig. Inspired by the occassion, Wayman Adams painted the remains of the dinner as a still life and exhibited the painting at the club’s next meeting. The painting was auctioned later that year to benefit the Red Cross.
Ref: Krause, Martin, The Passage: Return of Indiana Painters from Germany, 1880-1905, Indianapolis Museum of Art and Wallraf-Richartz Museum, 1990.
451. William Forsyth (American/Indiana, 1854-1934), “Across the Whitewater River, Brookville, Indiana”, c. 1899-1900, watercolor and pencil on paper, signed lower left, 13 in. x 20 in. [$2500/4000]
Provenance: Collection of William Forsyth family.
452. William Keith (Scottish/American, 1839-1911), “Palo Alto Oaks at Stanford, California”, oil on canvas, signed lower right, 30 in. x 46 in. [$6000/8000]
Note: During the late nineteenth century, William Keith was among the most accomplished and successful of the California painters. Recognized as the “Dean of California Painters,” Keith was known for his vistas of the California landscape. Born in Scotland, Keith moved to New York City in 1850 to work as a wood engraver for Harper’s Weekly Illustrated Newspaper. By 1859, Keith moved to California to work as an etcher, but gradually became more involved with painting. In 1891, he shared a studio near Stanford University with the great American Tonalist artist George Inness, Sr. Four years after his death, an entire room at the 1915 Panama-Pacific International Exhibition was devoted exclusively to Keith’s work.
453. Jean Joseph Vaudechamp (French, 1790-1866, active New Orleans, 1831-1839), “Jean Baptiste Augustin”, oil on canvas, signed upper left, 27 3/4 in. x 22 1/2 in. [$12000/18000]
Note: The French academic portrait painter Jean Joseph Vaudechamp began his annual winter trips to New Orleans in 1831. In the prevailing neoclassical style of the French masters of the day, David and Ingres, Vaudechamp painted elegant portraits that reflected the sophistication and wealth of the Creole community in New Orleans during the 1830s.
With the advent of the French Revolution, Jean Baptiste Augustin (1764-1832) was forced to leave the seminary where he was studying to be a priest and was imprisoned. Augustin eventually left France and set sail for the Caribbean, settling on the island of Saint-Domingue in 1793. Political unrest, resulting in the slave uprisings of 1804, forced Augustin to emigrate with his family to Cuba and then to New Orleans. In New Orleans, he became a professor of Latin at the Collège d’Orléans.
Interestingly, there are three known versions of Jean Baptiste Augustin’s portrait, all painted by Jean Joseph Vaudechamp. The Historic New Orleans Collection has a version of the portrait which is signed and dated “1832”. It appears that Augustin passed away soon after Vaudechamp completed the first portrait. Augustin’s family members likely commissioned Vaudechamp to paint two copies of the painting, one of which is offered here.
Provenance: By family descent to Daniel Spelman Wogan, New Orleans
Ref: William Rudolph, “Jean Joseph Vaudechamp 1790-1864 in France and Louisiana,” Phd. Dissertation, Bryn Mawr, 2003; and Mrs. Thomas Nelson Carter Bruns, Louisiana Portraits, The National Society of the Colonial Dames of America, 1975, p. 20.
*454. George David Coulon (French/New Orleans, 1822-1905), “Rocky Landscape”, unsigned, 9 1/2 in. x 12 1/2 in. [$800/1200]
Provenance: Collection of William Groves, New Orleans.
455. Franco-Louisiana School, 19th c., “Portrait of a Young Man, Member of the Augustine-Wogan-Labranche Family, New Orleans”, oil on canvas, unsigned, sight 28 in. x 21 1/2 in. [$2500/4000]
Note: According to family tradition, the young man in the portrait was raised as a Catholic in France. He eventually turned toward the Protestant faith of the Huguenots. This portrait caused a family scandal at the time, because the young man is holding a Huguenot bible.

456. Samuel Lovett Waldo (American/New York, 1783-1861) and William Jewett (American/New York, c. 1789-1874), pair of portraits of “Cornelius DuBois” and “Sarah Platt Ogden DuBois and their son George Washington DuBois”, oils on wood panel, both signed “Waldo and Jewett”, titled and inscribed en verso, dated “1829” and “July 26, 1827” respectively, 36 in. x 27 in. and 38 in. x 29 1/2 in., both in antique giltwood frames. [$5000/8000]
Provenance: A Jackson, Mississippi Estate.
Note: Around 1818, Samuel Waldo went into partnership with his talented student William Jewett. Their highly successful partnership flourished for over thirty years. They specialized in portraits of prominent New Yorkers and often signed their collaborative paintings as “Waldo and Jewett”.
Cornelius DuBois was a well-respected New York City lawyer. His wife Sarah Platte Ogden Dubois was the daughter of Robert and Sarah Platt Ogden. Sarah DuBois’ brother Roger Ogden IV practiced law in Charleston and eventually moved to Louisiana in 1821. Their son George Washington DuBois became an Episcopal priest.
475. Alexander John Drysdale (American/New Orleans, 1870-1934), “Louisiana Bayou at Dawn”, oil wash on board, signed and dated “1922” lower left, sight 14 in. x 32 1/2 in. [$3000/5000]
490. Robert Wadsworth Grafton (American, 1876-1936, active New Orleans 1916-1920), “Courtyard with Hollyhocks”, oil on canvas, signed and dated “1925” lower left, artist plaque on frame, sight 50 1/4 in. x 39 1/4 in., in a period frame. [$8000/10000]
491. John McCrady (American, 1911-1968), “Holiday-School’s Out”, multi-stage on canvas affixed to masonite, signed lower right, artist label en verso, 19 1/2 in. x 25 1/4 in., in a frame hand-carved and painted by the artist. [$20000/30000]
Note: John McCrady continually found inspiration in his childhood home of Oxford, Mississippi. In the painting “Holiday-School’s Out,” McCrady focused on everyday life in his beloved “La-fay-ette” county by painting a group of children enjoying the carefree days of summer. On this hot lazy day, the children play and climb on a vacant school bus at the side of the road. In the foreground stands a young girl holding a box next to her shirtless brother. McCrady painted these two children in slightly different poses in the Mississippi painting “Dog-Trot Parthenon.” McCrady was often self-referential in his paintings, and would use similar elements creatively.
Ref: Keith Marshall, John McCrady, 1911-1968, New Orleans Museum of Art, 1975.
492. John McCrady (American, 1911-1968), “Sketch for ‘Fractionating Tower’-Baton Rouge, LA”, watercolor, pencil-signed and titled, sight 11 1/2 in. x 15 1/2 in. [$8000/12000]
Provenance: Estate of John and Mary McCrady through Downtown Gallery, New Orleans.
Note: In 1947, John McCrady received a commission from Standard Oil of New Jersey to create a series of paintings, watercolors and lithographs illustrating the company’s plant in Baton Rouge. A selection of paintings from this series was exhibited in “Three Artists Record the Oil Scene” at the New Orleans International House and later published in Life Magazine’s article “The Artists Look at U.S. Industry.” In this watercolor, McCrady depicted members of the night shift working in the glow of the tall fractionating towers. For safety purposes, bicycles were used as transportation within the grounds of the refinery.
Ref: Keith Marshall, “John McCrady, 1911-1968,” New Orleans Museum of Art, 1975.
493. Emil Holzhauer (American/Florida, 1887-1986), “Fort Walton Beach West, Florida”, oil on masonite, signed and dated “‘66” lower right, 23 1/2 in. x 31 1/4 in. [$3000/5000]
494. Emil Holzhauer (American/Florida, 1887-1986), “At Bayou La Batre, Alabama”, oil on masonite, signed lower left, 30 in. x 25 1/2 in. [$3000/5000]
495. Henry Casselli (American/New Orleans, b. 1946), “Mississippi Watermelon Truck”, charcoal drawing, signed and dated “1970” lower right, sight 17 1/2 in. x 21 1/2 in. [$1000/1500]
Provenance: Purchased directly from the artist in the early 1970s.
496. Ida Kohlmeyer (American/New Orleans, 1912-1997), “Cluster 2-16”, oil on canvas, signed and dated 1977 lower middle, titled en verso, 36 in. x 46 in., in a period frame. [$8000/12000]
*498. Charles Melohs (American/New Orleans, 1908-1982), “Sacred Sword”, oil on canvas, 1956, signed lower middle, sight 27 in. x 35 in. [$1200/1800]
Provenance: Exhibited at the annual Art Association Exhibition in 1956 at the Isaac Delgado Museum of Art (today the New Orleans Museum of Art).
499. Charles Melohs (American/New Orleans, 1908-1982), “Voodoo Village”, oil on canvas, 1956, signed lower right, Art Association of New Orleans label en verso, 27 1/2 in. x 35 1/2 in. [$1200/1800]
Note: After the untimely death of his father, Charles Melohs was sent to an orphan asylum in Brooklyn. Melohs’ artistic talents were recognized and he earned a full scholarship to Pratt Institute. His colorful semi-abstract paintings earned him a great deal of success in the 1950s and 1960s. Melohs toured the South in 1953 and lived for time in New Orleans. While in the city he had a one-man show of his paintings at the Le Petit Theatre in conjuction with Tulane University and exhibited with the Art Association of New Orleans.
*500. Charles Melohs (American/New Orleans, 1908-1982), “War God”, oil on canvas, 1955, signed lower right, sight 27 in. x 35 in. [$1200/1800]
Provenance: Previously placed on long term loan to the Isaac Delgado Museum of Art (today the New Orleans Museum of Art).
501. Steele Burden (American/Baton Rouge, 1900-1995), “Night Swamp”, oil on canvas, unsigned, 40 in. x 38 in. [$3500/4500]
Steele Burden was a prominent landscape architect known for his sensitivity to the character of the tropical Louisiana plantation garden. In 1971 he donated his own garden at his family's Windrush Plantation, along with his collection of artifacts of rural life, to L.S.U. which continues to operate them as the Louisiana State University Rural Life Museum and Windrush Gardens.
502. Noel Rockmore (American/New Orleans, 1928-1995), “Elephant Graveyard”, oil on canvas, signed and dated “1954” lower left, title label en verso, 44 in. x 28 in. [$3000/5000]
Provenance: Estate of E. Larry Borenstein, New Orleans.
*503. Noel Rockmore (American/New Orleans, 1928-1995), “Stephanie Dinkins”, oil on canvas, signed and dated “66” upper right, title label en verso, 40 in. x 30 in. [$1000/1500]
Provenance: Estate of E. Larry Borenstein, New Orleans.
512. Charles H. Chaplin (American/New Orleans, 1830-1889), “Louisiana Bayou Scene with Egret”, watercolor, signed lower right, sight 13 in. x 19 1/2 in. [$1500/2500]
513. William R. Steene (American/Mississippi, 1888-1965), “A Snowy Day in the Woods”, oil on canvas, signed lower right, 16 in. x 20 in., in a period frame. [$1200/1800]
*514. William Auerbach-Levy (American, 1889-1964), “White Horse”, oil on canvas, unsigned, label en verso from “Belnord Art Studio, New York”, 20 in. x 24 in. [$800/1200]
515. Wayne Cooper (American, b. 1942), “The Barn”, oil on canvas, signed lower right, 24 in. x 48 in. [$1200/1800]
Note: Oklahoma artist Wayne Cooper specializes in western landscapes and Indian genre scenes.
516. George Lovett Kingsland Morris (American, 1905-1975), “Abstract Composition”, oil, ink and watercolor on board, signed lower right, sight 10 1/2 in. x 13 1/2 in. [$3000/5000]
517. John Nichols Haapanen (American, b. 1891), “Sunset on the Coast of Maine”, oil on board, signed lower right, Christie’s label en verso, 16 in. x 20 in., in a period frame. [$600/800]
518. Harry B. Lachman (American, 1886-1974), “Still Life of Fruit”, oil on canvas, signed lower left, signed en verso, 10 in. x 14 1/4 in. [$400/600]
519. Noel Rockmore (American/New Orleans, 1928-1995), “John Beecher-The Poet, New Orleans”, oil on canvas, signed and dated “July ‘65” lower left, catalogue sheet from E.L. Borenstein Collection en verso, 40 in. x 30 in. [$2000/3000]
Provenance: Estate of E. Larry Borenstein, New Orleans.
Note: Renowned writer John Beecher concentrated his efforts on the political and social issues of his day. As a journalist, professor and poet, he became actively involved in the Civil Rights Movement, Minnesota Farmer-Labor Party, and the causes of migrant farmers, and founded Morning Star Press in 1956.
520. Howard Reeve Newton (American/New Orleans, d. 1989), “A Native in the Jungle of the South Pacific”, watercolor, signed and dated “1973” lower right, sight 15 in. x 10 1/2 in. [$500/700]
521. Howard Reeve Newton (American/New Orleans, d. 1989), “Naval Ships in South Pacific, World War II”, watercolor, signed and dated “‘45” lower right, sight 9 1/2 in. x 14 1/2 in. [$500/700]
Note: While serving aboard a United States Navy destroyer in the Pacific Theater during World War II, Howard Newton spent his spare moments painting the natives and exotic ports in the South Pacific. Trained as an architect, Newton was placed in charge of designing and building famed Monkey Hill in Audubon Park for the Works Progress Administration (WPA) during the 1930s.
522. Howard Reeve Newton (American/New Orleans, d. 1989), two watercolors of “Native Black Men from the Islands of the South Pacific”, both signed and dated “1943” lower right, sight 5 1/4 in. x 4 1/2 in., framed together. [$600/900]
523. Eileen LeBlanc (American/New Orleans, 20th c.), “Country Road”, oil on masonite, signed en verso, exhibition label from Art Association of New Orleans en verso, 20 in. x 24 in., in a period frame. [$300/500]
524. Horace Alexander Russ (American/New Orleans, b. 1887), “New Basin Canal”, oil on canvas, signed lower right, 17 1/2 in. x 18 1/4 in., in a period frame. [$1000/1500]
*525. G.H. Wheatley (American, 20th c.), “Under Full Sail”, oil on canvas, signed lower left, signed and titled en verso, Bacova Gallery, Virginia label en verso, 24 in. x 30 in. [$500/700]
526. Colette Pope Heldner (American/New Orleans, 1902-1990), “Swamp Idyll, Louisiana Bayou Country”, oil on canvas, signed lower left, signed and titled en verso, 40 in. x 50 in., in a period frame. [$3000/5000]
527. E. Nunn Miller (American, 20th c.), “Monterey Coast, California”, oil on masonite, signed lower left, 12 in. x 16 in. [$400/600]
775. Will Ousley (American/Louisiana, 1866-1953), “West Fork of Calcasieu River, Louisiana, No. 212”, oil on canvas, signed lower right, titled lower center, signed, titled and inscribed en verso, 19 in. x 33 1/2 in., in a period frame. [$2000/3000]

776. Will Ousley (American/Louisiana, 1866-1853), “Louisiana Landscape”, oil on canvas, signed lower right, inscribed with drawings of “Bill Ousley a Bird” and “Self Portrait on a Palette” en verso, signed en verso “Uncle Bill, the Artist”, 23 3/4 in. x 14 in., in a period frame. [$2000/4000]
777. Jack Cooley (American/New Orleans, 20th c.), “Art Gallery, French Quarter”, oil on masonite, signed and dated “72” lower right, 30 in. x 24 in. [$500/700]
778. Robert T. Knight (American, b. 1827), “Hudson River Valley Landscape”, oil on academy board, monogrammed lower left and signed en verso, 10 3/4 in. x 8 1/2 in., in a giltwood period frame. [$500/800]
779. T. Trautmann (American, 20th c.), “Sun Breaking Through the Clouds in a Winter Landscape”, oil on board, signed lower left, 18 1/2 in. x 24 1/2 in., in a period frame. [$300/500]
780. S. Silvertsen (American, 20th c.), “Still life of Rookwood Vase and Grapes”, oil on canvas, signed and dated “1905” lower right, 16 1/4 in. x 14 3/4 in. [$300/500]
*781. Gustave Cimiotti (American, 1875-1934), “The Small Wave, Maine”, oil on canvasboard, signed lower left, titled en verso, 16 in. x 20 in. [$500/800]
782. Sr. Ignatius (American/New Orleans, 20th c.), “Convent Courtyard”, watercolor, signed and dated “1946” lower right, signed and titled en verso, sight 11 in. x 9 1/2 in., in a period frame. [$300/500]
783. Will Ousley (American/Louisiana, 1866-1953), “The West Fork of the Calcasieu River, S.W. No. 492, The Mist”, oil on canvas, signed lower left, titled lower center, signed, titled and dated “Nov. 1930” en verso, 18 in. x 35 in. [$2500/3500]
784. Stanley Bielecky (American/New Orleans, 20th c.), “Docks of Mississippi River”, oil on canvas, estate stamp on lower left, 18 in. x 22 in. [$200/400]
785. Colette Pope Heldner (American/New Orleans, 1902-1990), “Swamp Idyl, Louisiana Bayou Country”, oil on canvas, signed lower left, signed and titled en verso, 30 in. x 36 in., unframed. [$600/800]
786. Colette Pope Heldner (American/New Orleans, 1902-1990), “Swamp Idyll, Louisiana Bayou Country”, oil on canvas, signed lower left, signed and titled en verso, 20 in. x 36 in., unframed. [$500/700]
787. W.B. Roberts (American, late 19th c.), “Florida Swamp”, watercolor, signed and dated “1894” lower right, sight 19 1/2 in. x 13 1/2 in., in a period frame. [$200/400]
788. H. Alvin Sharpe (American/New Orleans, 20th c.), “Seascape”, oil on canvas, signed lower right, 31 1/2 in. x 35 1/2 in. [$400/600]
789. Colette Pope Heldner (American/New Orleans, 1902-1990), “Patio, Old Brulator Patio, French Quarter, Old New Orleans”, oil on canvasboard, signed lower left, signed and titled en verso, 16 in. x 20 in. [$400/600]
790. Colette Pope Heldner (American/New Orleans, 1902-1990), pair of paintings of “Swamp Idyl, Louisiana Bayou Country”, oils on canvasboard, signed lower left, signed and titled en verso, 16 in. x 20 in., unframed. [$500/700]
791. Clementine Hunter (American/Louisiana, 1887-1988), “Cotton Picker”, oil on canvasboard, monogrammed middle right, sight 17 1/4 in. x 23 1/4 in., together with a photograph depicting Clementine Hunter and Ricky Leger holding the painting. [$4000/5000]
792. Clementine Hunter (American/Louisiana, 1887-1988), “Flower Pickers”, oil on canvasboard, monogrammed middle right, sight 15 1/4 in. x 19 1/4 in., together with a photograph of Clementine Hunter and Ricky Leger holding the painting. [$2500/3500]
793. Willie White (American/New Orleans, 1908-2000), “Alligators and a Cherry Tree”, felt tip marker on poster board, signed lower left, 21 in. x 27 in., attractively matted and framed. [$700/1000]
794. Willie White (American/New Orleans, 1908-2000), “Alligators in a Swamp”, felt tip marker on poster board, signed lower right, sight 21 in. x 27 in., attractively matted and framed. [$700/1000]
*795. Willie White (American/New Orleans, 1908-2000), “Blue Birds and Watermelons”, felt tip marker on poster board, signed and dated “1988” lower middle right, sight 21 in. x 27 in., attractively matted and framed. [$700/1000]
796. Willie White (American/New Orleans, 1908-2000), “Dragons and a Cherry Tree”, felt tip marker on poster board, signed lower left, sight 21 in. x 27 in., attractively matted and framed. [$700/1000]
797. Colette Pope Heldner (American/New Orleans, 1902-1990), “Swamp Idyll, Louisiana Bayou Country”, oil on canvasboard, signed lower left, sight 19 1/2 in. x 15 1/4 in. [$500/700]
*798. Clementine Hunter (American/Louisiana, 1887-1988), “Watermelon”, oil on canvasboard, monogrammed lower right, sight 11 5/8 in. x 15 1/2 in. [$1500/2500]
*799. Margaret Wirstrom Evangeline (American/New Orleans, 20th c.), “The True Musician”, mixed media on canvas, signed and titled en verso, artist label en verso, 30 in. x 40 in., unframed. [$1200/1800]
Note: Margaret Wirstrom Evangeline was born in Baton Rouge, received her early education at the Sacred Heart boarding school in Grand Coteau and her art training at the University of New Orleans. Now a working artist in New York City, Evangeline was represented locally by Galerie Simonne Stern and Tilden-Foley Gallery in the 1970s and 1980s. Evangeline’s paintings reflect her Southern heritage and interest in gestural surface textures.
*800. Margaret Wirstrom Evangeline (American/New Orleans, 20th c.), “Southern Cross”, oil on board with cameo affixed to surface, signed and titled en verso, 40 in. x 40 in. [$1200/1800]
*801. Joe Burke (American, early 20th c.), “Chocolates, July 23, 1908”, oil on canvas, signed lower right, 18 1/2 in. x 22 1/2 in., in a period frame. [$1500/2500]
802. Clementine Hunter (American/Louisiana, 1887-1988), “Zinnias in a Pot “ oil on canvasboard, monogrammed lower right, sight 15 3/4 in. x 11 2/2 in. [$1500/2500]
803. Heine Hartwig (American, b. 1937), “Indian Encampment”, oil on board, signed lower left, sight 5 1/2 in. x 11 1/2 in. [$1000/1500]
804. John Clemmer (American/New Orleans, b. 1921), “Abstraction”, pen and ink on paper, signed and dated “‘56” lower right, 12 in. x 10 in. [$300/500]
805. Noel Rockmore (American/New Orleans, 1928-1995), “Morocco”, oil on canvas, signed and titled lower right, 7 1/2 in. x 10 3/4 in. [$400/600]
Provenance: Estate of E. Larry Borenstein, New Orleans.
806. William Brice (American, b. 1921), “The Rose Garden”, acrylic on board, signed and dated “‘49” lower right, sight 17 in. x 22 in. [$400/600]
807. James Harrison Donaey (American, 1875-1953), “Aw let er howel, were ready”, signed, titled and dated “Dec. ‘42” lower right, sight 19 in. x 13 3/4 in. [$400/600]
808. Gerrit Hondius (Dutch/American, 1891-1970), “Circus Lady”, black and gray ink wash on paper, signed lower left, sight 13 in. x 8 in. [$250/450]
*997. Southern School, 19th c., “Portrait of a Woman”, oil on canvas, unsigned, New York canvas stencil en verso, 24 in. x 21 in., in a period frame. [$800/1200]
998. American School, early 19th c., “Portrait of a Young Girl Holding a Rattle”, oil on canvas, unsigned, 36 in. x 30 in. [$5000/7000]
*999. Arthur Lucius Briggs (American, 1852-1931), “The Valley, New York “ oil on canvas, signed and dated “85” lower left, title label en verso, 20 in. x 36 in. [$800/1200]
1000. Phillip A. Butler (American, 20th c.), “Barn by the Stream”, oil on canvas, signed lower right, 34 1/2 in. x 24 in. [$400/600]
1054. A.M. Whitman (American, 20th c.), “Venetian Courtyard”, watercolor, signed, titled and dated “Oct. 1903” lower left, sight 10 1/4 in. x 10 1/4 in. [$400/600]
1055. Frederick Roderigo Gruger (American, 1871-1953), “The Reprimand”, ink on paper, initialed lower left, 16 in. x 19 in. [$400/600]
Note: Famed American illustrator Frederick Gruger created over 3,000 illustrations for the “Saturday Evening Post” during his forty-five year association with the prestigious magazine.
1056. Walter Cole (American, early 20th c.), “Bucks County Farm”, c. 1920, oil on panel, signed en verso, 10 in. x 13 in. [$300/500]
*1113. Alberta Kinsey (American/New Orleans, 1875-1968), “French Quarter Courtyard”, oil on board, signed lower left, signed en verso, 14 3/4 in. x 12 in., in a period frame. [$500/1000]
1114. Noel Rockmore (American/New Orleans, 1928-1995), two drawings, “Abstraction” and “Jerusalem, Side of Buildings”, inks on papers, signed lower left and signed, titled and dated “Dec. 21, ‘67” lower right respectively, 9 1/2 in. x 12 1/2 in. and sight 10 3/4 in. x 7 in., unframed. [$150/250]

*1115. Vincent Zenone (American, 20th c.), a group of four illustrations of “Don Quixote” (two), “The Chestnut Vender” and “Benjamin Franklin”, watercolors and pencil, all pencil-signed, dimensions sight 18 3/4 in. x 12 1/2 in., 15 1/2 in. x 12 1/4 in., 16 in. x 11 3/4 in., and 14 in. x 12 in., together with Dorothy Louise Bowman (American, b. 1927) “The Meeting (Venice Cathedral)”, serigraph, signed lower right, remnant of Salazer Galleries label en verso, ca. 1959, edition of 95, sight 9 in. x 12 in. [$400/600]
Provenance: Succession of Raymond H. Weill.

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