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Information below is the lot/description information from our Winter Estates Auction, February 23 & 24, 2013.. 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.
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Image Of Lot 0297

Image Of Lot 0297

297. Attributed to Joseph Henry Bush (American/Kentucky/Natchez, 1794-1865), "Portrait of Rev. Miles D. Harper (1784-1843)," c. 1839, oil on canvas, unsigned, 24 3/4 in. x 20 in., period frame. $1500/2500
Provenance: Descended in the family of the sitter.Note: Miles Harper was a celebrated Methodist minister, on the circuit in the Cumberland (1804-9) and especially the Mississippi Conferences (1809-29), and in his eventual residency (from 1814, near Natchez). His portraitist depicts him as an older man in a serious and studious pose, his spectacles pushed up on his forehead, and holding apparently a Bible in his right hand. (A nearly identical pose and 'prop,' incidentally, as well as the same costume and coiffure appear in George Cooke's 1839 portrait of Benjamin Gwinn Harris, at the Maryland Historical Society in Baltimore.) About Miles Harper we have the rare advantage of an eyewitness description (Jones 1873): he was "of medium size, compactly built, well-proportioned, of attractive physical appearanceŠ[as well as] a natural oratorŠhis voice was round, full, clear, and distinct. His unusual eloquence, power, and success in preaching soon placed him among the most conspicuous and promising young ministers of the Western Conference."
The marriage of Miles Harper and Samantha Ford, in fact, provides for the first time a firm solution to one of the outstanding questions in Mississippi history, namely the exact date of her father's plantation, The John Ford House, a preeminent pioneer structure still standing on Andrew Jackson's "Military Road" near Sandy Hook in Marion County, on the west bank of the Pearl River. Rev. John Ford, a senior Methodist minister, moved from South Carolina to Jefferson Co., MS in 1808, and from there to Sandy Hook in 1809; his new house was built 1811-12, in time for the wedding of his daughter Samantha to Miles Harper on 10 March 1813 (the annual Methodist Conference was held in the house in 1814). The Harpers moved briefly back to Nashville in that year, but established their residency at Washington, MS in 1818. After a lapse from the Methodist clergy in 1829-33 Miles Harper was reinstated in 1834; he moved to a larger farm in Tensas Parish LA, where he died, and where his wife's portrait is still held.
Joseph Henry Bush, after precocious beginnings at Frankfort, was introduced by Henry Clay to no less a luminary than Thomas Sully (1783-1872) at Philadelphia, whose pupil Bush became from c. 1814 to 1817. After settling in Louisville in 1819, Bush spent many of his winters painting the planters of MS and LA: he was in New Orleans in 1831, 1841, and 1845, Baton Rouge in 1848, and Vicksburg in the 1830s, 40s, and 50s; from c. 1820 he was essentially based at Natchez. Our best evidence for the date of this portrait is an assessment of Harper's apparent age (he seems to be shown in his middle 50s; he died at 59), and through stylistic comparison with comparable canvases. Bush's very fine portrait from about 1835 of Uriah Flowers - a prominent planter from just north of Vicksburg - depicts exactly the same collar and stock, as well as exhibiting the same idiosyncrasy of an unusually thin silhouette, almost obscuring the far shoulder (such a design indeed had been already adumbrated in Bush's captivating, though only attributed, Master Marschalk from the early 1820s in Natchez; it also figures strongly in the nearly identical Robert Young Wood of c. 1835 in Natchez - again an attributed painting). A trio of firm ascriptions are Bush's fine Kentucky portraits of Thomas Bell Monroe and his Wife (who also wears spectacles), together with their son-in-law Richard Pindell. The latter is dated c. 1840, and it seems plausible that the artist might have portrayed all three at the same time: their poses, costumes, coiffures, and physiognomies are all intimately close to the Harper offered here. One other point in favor of a dating in the later 1830s is that the 'conspicuous consumption' of a fine portrait implies a certain affluence; we therefore should allow time for this formerly itinerant Methodist preacher to become an established planter, as we know Harper to have done from his land purchases in Tensas Parish, just upriver from Natchez, in 1834-39. Whatever its exact date, this splendid picture can certainly be ranked among the most appealing and most satisfying of all the Mississippi portraits by Joseph Henry Bush.
References: John G. Jones, A Complete History of Methodism, 2 vols., ed. T. L. Mellen, text 1873, final ed. Nashville and Dallas, 1908: pp. 1:208-9 (Harper description), 1:352-6 and 2:17 (Samantha Ford Harper's family); 2:232-238 (Harper's retirement); Donald D. Keyes, George Cooke, Athens, GA, 1991, pp. 64-65 (Harris); Mary Wallace Crocker, Historic Architecture in MS, Jackson, 1973, pp. 85-86; Estill Curtis Pennington, Kentucky: the Master Painters, Paris, KY, 2008, pp. 43-44; Colonial Dames, Louisiana Portraits, New Orleans, 1975, pp. 188 (Monroe and his Wife), 205 (Pindell), 283 (Samantha Ford Harper); idem, Mississippi Portraiture, Laurel, MS, 1987, pp. 105 (Flowers), 171 (Marschalk), 283 (Wood).
Image Of Lot 0298 298. Attributed to John Wesley Jarvis (American, 1780-1840), "Self Portrait," oil on canvas, unsigned, 10 in. x 8 in., framed. $1500/2500
Provenance: Argosy Gallery, New York, 1957, Collection of Felix H. Kuntz, New Orleans.
Image Of Lot 0299

Image Of Lot 0299

Image Of Lot 0299

Image Of Lot 0299

Image Of Lot 0299

299. William Henry Buck (American/Louisiana, 1840-1888), "Moss Trees Along the Mississippi River," oil on canvas, signed lower right, 18 in. x 30 in., framed with artist and title plaque. $75000/125000
Note: In his Louisiana landscapes, William Henry Buck often includes an African-American figure involved in a pursuit on the water: boating, fishing, working a net. The painting offered here shows a man poling on a wooden raft, an activity very much identified with travel along the Mississippi River. For many who lived along the river and its tributaries in the 19th century, it was the primary means of heading downriver. This unique landscape by Buck has his traditional live oak tree prominent in the composition. Interestingly, a golden rain tree in full bloom is positioned as prominently. On the ground are recently sawn logs which will end up in the neat wood pile behind the shed by the river's edge. The opposite bank is depicted on the horizon, while on the left side is a large expanse of water probably showing a characteristic turn in the Mississippi River.This work was painted contemporaneously with Mark Twain's successful publication of The Adventures of Tom Sawyer (1876) and The Adventures of Huckleberry Finn (1885). This powerful scene is a romantic view of the great Mississippi and clearly relates to the way of life along its banks as portrayed in these two greatest of American novels.
Image Of Lot 0300

Image Of Lot 0300

Image Of Lot 0300

Image Of Lot 0300

Image Of Lot 0300

Image Of Lot 0300

Image Of Lot 0300

Image Of Lot 0300

300. Alexander John Drysdale (American/New Orleans, 1870-1934), "Five Cypress Trees, Hazy Morning," 1912, oil on academy board, signed and dated lower right, F. Weber & Co.'s Academy Board label and handwritten inscription "Edith Gremillion, Marksville, LA" en verso, 18 in. x 24 in.; accompanied by an autographed book, H.A. Buechner, Drysdale: Artist of Myth and Legend. $3000/5000
Provenance: Descended in the Faust Family, New Orleans, LA.
Image Of Lot 0302

Image Of Lot 0302

Image Of Lot 0302

302. French School, mid-19th c., "Portrait of Isabelle Medevielle," oil on canvas, unsigned, 25 1/2 in. x 21 1/4 in., framed. $3000/5000
Provenance: Descended in the family of the sitter. Discovered in Longwood Plantation, built c. 1785, East Baton Rouge Parish, LA.Note: François (Frank) Medevielle (1863-1932) immigrated from Arudy, France to New Orleans in 1899 with his wife and children. A tailor, he worked in New Orleans and Pascagoula, MS before settling in Baton Rouge around 1920. The current lot, which was discovered at Longwood Plantation in Baton Rouge, is a French portrait dating from the mid-19th century, possibly by an artist in the school of Ingres. The sitter is identified as Isabelle Medevielle and could be a likeness of the mother of François Medevielle.
Image Of Lot 0303

Image Of Lot 0303

Image Of Lot 0303

303. William Aiken Walker (American/South Carolina, 1838-1921), "Wash Day at the Cabin," oil on academy board, signed lower left, Presbytere Exhibition label en verso, 9 in. x 12 in., framed. $10000/15000
Exhibited: "The World of William Aiken Walker," Presbytere, Louisiana State Museum, December 1972-January 1973.Note: To be included in the forthcoming catalogue raisonné by John Fowler.
Image Of Lot 0380 380. Angela Gregory (American/New Orleans, 1903-1990), "Still Life of Pottery Candlestick and Mug", oil on board, signed upper left, 20 in. x 16 in., framed. $2500/3500
Image Of Lot 0384

Image Of Lot 0384

Image Of Lot 0384

Image Of Lot 0384

Image Of Lot 0384

Image Of Lot 0384

Image Of Lot 0384

Image Of Lot 0384

384. William Woodward (American/New Orleans 1859-1939), "Gulf Shore", 1921, oil on canvas, signed and dated lower right, titled and inscribed en verso, 22 in. x 28 in., period frame. $20000/30000
Provenance: Descended in the family of Louise Amelia Giesen Woodward, wife of William Woodward.Note: William Woodward produced a very accomplished group of paintings depicting the Mississippi Gulf Coast. The brightly colored work offered here depicts two moss-laden oak trees, which frame a boat at full sail on the white capped Gulf waters. The artist depicts a windy day with Spanish moss swaying in the air. Pink and white oleander bushes stand next to the trees which flank a sandy beach. This painting is closely related to a work illustrated on p. 167 of Robert Hinckley, editor, William Woodward: American Impressionist, which depicts a view down the beach at Biloxi. This work depicts the same scene looking straight out to the Gulf.
Image Of Lot 0385

Image Of Lot 0385

Image Of Lot 0385

Image Of Lot 0385

385. Bror Anders Wikstrom (Swedish, 1854-1909, active New Orleans, 1883-1909), "Spanish Colonial Garden", 1904, oil on canvas, signed and dated lower right, 20 in. x 31 in., period frame. $7000/9000
Provenance: Descended in an Amite, Louisiana family.
Image Of Lot 0386

Image Of Lot 0386

Image Of Lot 0386

Image Of Lot 0386

Image Of Lot 0386

386. Bror Anders Wikstrom (Swedish, 1854-1909, active New Orleans, 1883-1909), "Wooded Landscape", oil on canvas, signed lower right, W.E. Seebold Gallery, New Orleans label en verso, 10 in. x 15 in., original frame. $4000/6000
Provenance: Descended in an Amite, Louisiana family.
Image Of Lot 0387

Image Of Lot 0387

387. Alexander John Drysdale (American/New Orleans, 1870-1934), "Louisiana Twilight", oil on canvas, signed lower right, signed and inscribed en verso, 20 in. x 30 in., framed. $5000/8000
Image Of Lot 0388 388. Louis Oscar Griffith (American, 1875-1956, active New Orleans 1916-17), "Home in Summer with Flowers in Bloom", oil on board, signed lower left, 22 in. x 20 in., framed. $4000/6000
Image Of Lot 0389

Image Of Lot 0389

389. William Woodward (American/New Orleans 1859-1939), "Biloxi Lighthouse, Hazy Morning", oil on canvas board, unsigned, title label en verso, 6 3/4 in. x 4 1/8 in., framed; together with a photograph of William and Louise Giesen Woodward in front of their house in Biloxi, MS. $1500/2500
Provenance: Descended in the family of Louise Amelia Giesen Woodward, wife of William Woodward.Note: This painting relates to a series of tonalist works William Woodward painted of the water around Biloxi. Often showing the sky and water in the same subtly striated hues, the work offered here uses shades of lavender to this effect. The horizon is punctuated by the Biloxi lighthouse and the treeline with a passing boat. The lighthouse is quietly reflected in the water.
Image Of Lot 0390

Image Of Lot 0390

390. Marie Atkinson Hull (American/Mississippi, 1890-1980), "View of the Back Bay, Biloxi", oil on masonite, signed lower right, 15 1/2 in. x 20 in., framed. $4000/6000
Provenance: Gift of the artist.Note: A similarly composed painting titled "Biloxi Boats" is illustrated on p. 38 of The Art of Marie Hull. As in the work offered here, moss-laden trees frame the waterway beyond. Here two figures are shown in a rowboat; one man is standing and may be hauling a net or tonging for oysters. A sailboat is in the background before the treeline of Biloxi Bay. This colorful landscape is a very fine example of Hull's fully developed impressionist style.
Reference: Norwood, Malcom, et. al., The Art of Marie Hull, Jackson: University Press of Mississippi, 1975.
Image Of Lot 0391 391. William Woodward (American/New Orleans 1859-1939), "French Market, New Orleans", watercolor, unsigned, sight 8 3/4 in. x 13 1/2 in., framed; together with a photograph of William and Louise Giesen Woodward with their family. $4000/6000
Provenance: Descended in the family of Louise Amelia Giesen Woodward, wife of William Woodward.Note: A 1904 Rafaelli oil crayon by William Woodward depicting a nearly identical view is in the collection of the New Orleans Museum of Art. Each of these paintings of the French Market with the Red Store at the end shows the same porter loading a vendor's wagon.
Reference: Hinckley, Robert, editor, William Woodward: American Impressionist, New Orleans, 2009, p. 129.
Image Of Lot 0392

Image Of Lot 0392

392. Knute Heldner (Swedish/New Orleans, 1877-1952), "French Quarter Courtyard", oil on canvas board, signed lower right, 12 in. x 9 in., framed. $3000/5000
Image Of Lot 0393 393. Wayman Elbridge Adams (American/New Orleans, 1883-1959), "Affinities", oil on canvas, signed lower left, title label en verso, 52 in. x 40 in., original frame. $3000/5000
Provenance: Acquired at the Wayman Adams Estate Auction, Waco, Texas, 1993, lot no. 33.Note: A native of Indiana, Wayman Adams studied under Robert Henri and William Merritt Chase. Adams was a most accomplished portrait painter whose works are executed in a distinctive painterly manner characterized by a remarkable handling of rich impasto.
Image Of Lot 0394 394. Helen Maria Turner (American/Louisiana, 1858-1958), "Along the Path", oil on canvas affixed to board, signed lower right, 10 1/4 in. x 14 in., period gilt frame. $7000/10000
Provenance: Descended in the family of the artist: to her cousin Margaret Texada Todd; Estate of Dr. James M. Todd, Jr., 17 Richmond Place, New Orleans.Note: To be included in Kaycee Benton's forthcoming catalogue raisonné on Helen Maria Turner.
Image Of Lot 0395

Image Of Lot 0395

395. George Henry Clements (American/Louisiana, 1854-1935), "Sail Boats on Lake Pontchartrain", oil on board, signed lower left, W.E. Seebold, Art Dealer, New Orleans label en verso, 8 in. x 11 3/4 in., period frame. $1500/2500
Image Of Lot 0396 396. Will Henry Stevens (American/New Orleans, 1881-1949), "Mountainous Landscape near San Angelo, Texas", pastel on paper, pencil-signed lower right, sight 12 in. x 15 1/2 in., matted and framed. $2000/4000
Provenance: Acquired Blue Spiral Gallery 1, Asheville, North Carolina.Note: In 1921, the modernist artist Will Henry Stevens was invited to join the faculty at Sophie Newcomb College where he remained for nearly three decades. In the late 1920s, Stevens spent his summers teaching at the Texas Artist's Camp in San Angelo, Texas.
Image Of Lot 0397 397. Alexander John Drysdale (American/New Orleans, 1870-1934), "Louisiana Live Oaks with Billowing Clouds", 1917, oil wash on board, signed and dated lower left, sight 19 1/2 in. x 29 1/4 in., period frame. $3000/5000
Provenance: Descended in the Faust Family, New Orleans, LA.
Image Of Lot 0398 398. George Henry Clements (American/Louisiana, 1854-1935), "A Farm Yard with Geese, Chickens and a Goat", watercolor, signed lower right, sight 8 1/4 in. x 11 1/8 in., framed. $1800/2500
Image Of Lot 0399

Image Of Lot 0399

399. Charles L. Boisset (American/New Orleans, 20th c.), "Barracks Street Ferry on the Mississippi River", oil on canvas board, signed lower left, signed and titled and with title label en verso, 12 in. x 16 in., period frame. $1500/2500
Image Of Lot 0400

Image Of Lot 0400

400. Ellsworth Woodward (American/New Orleans, 1861-1939), "Isle of Capri", 1907, watercolor, signed, titled and dated lower left, sight 20 1/4 in. x 14 1/4 in., framed. $1500/2500
Image Of Lot 0401

Image Of Lot 0401

401. Ellsworth Woodward (American/New Orleans, 1861-1939), "Jocund Day Stands on the Misty Mountain Tops", watercolor, signed lower left, 19 1/2 in. x 14 1/2 in., framed. $1500/2500
Note: The title refers to a scene in William Shakespeare's play Romeo and Juliet. In Act 3, Scene 5, Romeo responds to Juliet with: "It was the lark, the herald of the morn,/ no nightingale. Look, love, what envious streaks/ do lace the severing clouds in yonder east./ Night's candles are burnt out, and jocund day/ stands tiptoe on the misty mountain tops./ I must be gone and live, or stay and die".
Image Of Lot 0402 402. Will Henry Stevens (American/New Orleans, 1881-1949), "Sugar Mill on the Mississippi River", pastel on paper, signed lower right, sight 21 1/2 in. x 17 1/4 in., framed. $2500/3500
Image Of Lot 0403

Image Of Lot 0403

403. Alexander John Drysdale (American/New Orleans, 1870-1934), "Bayou Landscape with Live Oak and Cypress Trees", 1914, oil wash on academy board, signed and dated lower right, 18 in. and 24 in., period oak frame with gilt liner. $3000/5000
Image Of Lot 0404 404. Emil Eugen Holzhauer (American/Georgia, 1887-1986), "Boat Houses, Boggy Bayou", 1965, oil on masonite, signed and dated lower right, titled and inscribed en verso, 24 in. x 36 in., unframed. $2000/3000
Image Of Lot 0405 405. George Henry Clements (American/Louisiana, 1854-1935), "Resting, Mule and Wagon", watercolor, signed lower left, sight 8 1/2 in. x 11 in., framed. $1500/2500
Image Of Lot 0406

Image Of Lot 0406

406. Colette Pope Heldner (American/Louisiana, 1902-1990), "Swamp Idyl, Louisiana Bayou Country", oil on canvas, signed lower left, signed and titled en verso, 30 in. x 36 in., framed. $3000/5000
Image Of Lot 0407

Image Of Lot 0407

Image Of Lot 0407

Image Of Lot 0407

407. George Rodrigue (American/Louisiana, b. 1944), "Cabin in the Louisiana Bayou", 1971, oil on canvas, signed lower left, signed, dated and with several artist's stamps en verso, 10 in. x 8 in., framed. $7000/9000
Provenance: Acquired from the artist, Lafayette, Louisiana.
Image Of Lot 0427

Image Of Lot 0427

Image Of Lot 0427

427. Robert M. Rucker (American/Louisiana, 1932-2000), "Spring on the River - Steamer Edgar Cherry", oil on canvas, signed lower right, titled en verso, 8 in. x 10 in., period frame. $1000/1500
Image Of Lot 0436

Image Of Lot 0436

Image Of Lot 0436

436. Patricia Whitty (American/Louisiana, b. 1943), "Still Life of Pears and Lilies", 1999, oil on linen, signed, dated and inscribed en verso, 15 3/4 in. x 21 3/4 in., framed. $1500/2500
Image Of Lot 0437 437. Will Henry Stevens (American/New Orleans, 1881-1949), "In the Wooded Forest", 1927, pastel, signed and dated lower right, sight 12 1/4 in. x 9 1/4 in., framed. $2000/3000
Image Of Lot 0438

Image Of Lot 0438

Image Of Lot 0438

438. George Valentine Dureau (American/New Orleans, b. 1930), "Male Nude Study with Arm Raised", graphite on paper, signed lower center, sight 26 in. x 19 in., accompanied by "Mardi Gras, New Orleans", 1979, silk screen, signed and dated lower center, numbered 161/500, sight 35 in. x 23 in., and "Five Figures", silk screen, pencil-signed and numbered 84/500, sight 18 1/4 in. x 24 3/4 in., all framed. (3 pcs.) $1000/1500
Image Of Lot 0439

Image Of Lot 0439

439. James Michalopoulos (American/Louisiana, b. 1951), "Equilibratia", 2004, oil on canvas, signed lower left, signed, dated, and titled en verso, 36 in. x 48 in., framed. $7000/9000
Image Of Lot 0445

Image Of Lot 0445

Image Of Lot 0445

Image Of Lot 0445

445. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), "Transverse #3", 1974, oil on canvas, signed and dated lower right, signed and titled on label en verso, 56 1/2 in. x 60 1/2 in., period frame. $15000/25000
Image Of Lot 0446 446. George Bauer Dunbar (American/New Orleans, born 1927), "Abstract Composition", mixed media and clay on panel, signed en verso, 15 in. x 17 in., framed. $2000/3000
Image Of Lot 0447 447. George Valentine Dureau (American/New Orleans, b. 1930), "Male Nude Study with Arm Raised", graphite on paper, signed lower center, 23 in. x 14 1/2 in., framed. $800/1200
Image Of Lot 0454

Image Of Lot 0454

Image Of Lot 0454

454. Attributed to Washington Bogart Cooper (American/Tennessee/New Orleans, 1802-1889), probably with assistance from his brother William Brown Cooper (American/Tennessee/New Orleans, 1811-1900), "Matilda Eleanor Bowie Moore (1816-1892) and Her Son Joseph Regis Bowie Moore (b. 1835)", c. 1838-1839, oil on canvas, unsigned, 30 in. x 25 in., unframed. $2500/3500
Provenance: Elve Anna Bowie Moore (daughter of the sitter, b. 1842) and her husband Eugene Soniat-DuFossat (1836-1901); their son Dr. Joseph Moore Soniat-DuFossat (1867-1926) and his wife Caroline [Olyn] Nelms (1870-1911); their daughter Olyn Eugene Soniat-DuFossat (1901-1990) and her husband William Huck Saufley, Sr.; the William H. Saufley Trust.Note: Matilda Eleanor Bowie was the niece of Col. James Bowie (1796-1836) and the daughter of Rezin Pleasant Bowie (1793-1841) and his wife Margaret Frances Neville (1790-1875); she married c. 1834 Joseph Hickman Moore of Pennsylvania (1807-1873), and lived at their plantation in Pointe Coupée Parish. Judging from the particularized image of this Late Empire sofa, it was presumably there in Pointe Coupée (although it might possibly have been in New Orleans) that she had herself portrayed with her eldest son Joseph (b. 1835), who died in childhood - sometime after his third or fourth year - as shown in this moving and beautiful picture. Matilda had also been portrayed in this same period by herself (in a very similar format) by C. R. Parker, c. 1838. This painting, however, is quite clearly by the same hand(s) as a substantial group of Polk family portraits surviving as an ensemble in New Orleans, that were almost certainly executed by one or both of the Cooper brothers (both of whose initials were "W. B. Cooper," and who advertised together in New Orleans on both 6 December 1838 and 22 August 1839): their individual works - if indeed they painted any portraits separately - are predictably difficult to distinguish. Matilda's face in this picture bears very striking similarities, all the same, to the probable Cooper portrait of Jane Maria Polk Walker (1798-1876), eldest sister of President James K. Polk, that is preserved in that group of Polk family pictures in a private collection in New Orleans.
Washington Cooper, the elder brother of this painterly pair, worked in Chattanooga, Memphis, Knoxville, Natchez, and New Orleans, as well as in Selma, AL in the 1840s. His younger brother William followed a similar trajectory, but is known to have begun with at least a year at the National Academy of Design in New York (1832), and to have traveled also in Europe. The brothers died respectively in Nashville in 1889 and Chattanooga in 1900.
Acknowledgements: We are grateful to Dr. Estill Curtis Pennington for his help with this picture's attribution, as well as the genealogical research into its sitters by Amie H. Strickland.
References: Chevalier Guy Soniat-DuFossat, History of Louisiana, translated and edited by Charles T. Soniat, New Orleans, 1976; Colonial Dames of America, Louisiana Portraits, New Orleans, 1975, pp. 189 (Matilda Moore's portrait by C.R. Parker), 208-209 and 262 (Polk family portraits, attributed to the Copper brothers); John A. Mahé and Rosanne McCaffrey, Encyclopaedia of New Orleans Artists, 1718-1918, New Orleans, 1987, pp. 85-86.
Image Of Lot 0455

Image Of Lot 0455

455. George Louis Viavant (American/New Orleans, 1872-1924), "Nature Morte: Snipe", 1921, watercolor, signed and dated lower left, 20 in. x 16 in., framed. $5000/7000
Note: A similarly composed painting of a snipe by Viavant is illustrated on p. 87 of George E. Jordan, George L. Viavant: Artist of the Hunt, The Historic New Orleans Collection, 2003.
Image Of Lot 0456

Image Of Lot 0456

456. Alexander John Drysdale (American/New Orleans, 1870-1934), “Sunset on the Bayou”, titled and rare A.J. Drysdale business card en verso, 1906, oil on canvas board, signed and dated lower left, 331 Gallery, New Orleans label en verso, sight 9 1/2 in. x 7 in., framed. $1500/2500
Provenance: Luba Glade's St. Charles Avenue Gallery, early 1960s.
Image Of Lot 0459

Image Of Lot 0459

Image Of Lot 0459

459. William Aiken Walker (American/South Carolina, 1838-1921), "Cotton Pickers in the Fields", oil on academy board, signed lower left, pencil inscribed and titled "Fields" and partial F.W. Devoe label en verso, 6 1/4 in. x 12 1/4 in., period tobacco leaf and berry motif gilt frame. $10000/15000
Note: To be included in John Fowler's forthcoming catalogue raisonné on William Aiken Walker.
Image Of Lot 0460 460. Louis C. Girault (American/Louisiana, active New Orleans, 1870-1892), After Richard Clague (French/New Orleans, 1821-1873), "Cabin and Boat on the Bayou", oil on canvas, signed and inscribed "after Clague" lower left, 10 in. x 15 3/4 in., period frame. $1800/2500
Note: Louis Girault worked in New Orleans as a cooper and cigar and tobacco merchant while pursuing a career as an artist. As attested by the inscription, Girault based this charming bayou painting on the work of Richard Clague, the premier Louisiana landscape painter.
Image Of Lot 0461

Image Of Lot 0461

461. George Esten Cooke, A.N.A. (American/Maryland, 1793-1849), "Maria Rosalie Henry, 1818-1897, Granddaughter of Virginia Statesman Patrick Henry", 1837, oil on canvas, signed upper left, dated upper right, 52 in. x 39 1/2 in., original giltwood inner frame. $60000/80000
Provenance: Daughter of the sitter and her husband Dr. William Bernard Lewis (1817-c.1865), Louise Maria Henry Lewis (1845-1910) of Halifax Co. VA, and her husband Thomas Wiley Branch (1835-1923) of Petersburg, VA; their son Patrick Henry Branch (1873- ) and his wife Florence of Asheville, NC; their daughter Rosalie Henry Branch (1924- ) and her husband Julius Eugene Davison of VT (1918-2002); their son Scott Davison (inherited 2002).Note: In this captivating painting the granddaughter of Patrick Henry (1736-1799) fully manifests her status as the affluent descendant of one of Virginia's preeminent statesmen, as she rests on a horsehair-upholstered Late Classical sofa before a marble-tiled loggia supported by large Tuscan columns, with a distant view of the Blue Ridge opening behind her shoulder. The architectural frame is an idealized image of Red Hill, her grandfather's house in Charlotte Co., which her father Edward Winston Henry (1794-1872) had inherited. As she sat for this portrait in 1837 (probably in Washington City), Maria Rosalie was nineteen years old; the decorated guitar she holds so prominently was to become a standard symbol of feminine refinement and culture, as it repeatedly appears, for example, in more workaday versions (that are actually being played) in portraits painted at Vicksburg and Port Gibson during the 1850s by Thomas Cantwell Healy (1820-1873).
George Cooke was the second son in his generation of a family that had been established in St. Mary's Co., MD, since the 17th c.; after a classical education and early mercantile experience there and in Washington City, he married in 1816 and for the next two years experimented as a land speculator in the Missouri Territory. Having been attracted to painting since childhood, he began seriously to pursue that career as an itinerant portraitist about 1819 (spending, for example, several seasons in Richmond, and that of 1822 in Montgomery, AL). In 1824, with his distant cousin John Gadsby Chapman (1808-1889), he studied in Washington with Charles Bird King (1785-1862). Following another intensive eighteen months in Richmond, he and his wife traveled for five years (1826-31) in Paris, Florence, Rome, and Naples, where Cooke assiduously copied the Old Masters and produced major pictures of his own. Upon his return he painted mainly in New York and the Catskills; he became a member (1832) and then Director (1834) of the American Academy of Fine Arts, and was named an Associate of the National Academy of Design (1833). In 1834 he proposed a Battle of Cowpens for the U.S. Capitol rotunda, but was not selected. He and his wife spent 1835 and 1836 in Charlottesville, Raleigh, Charleston, and the hot springs of western Virginia, before Cooke established a more permanent studio in Washington, where this picture was painted.
This unusually fine portrait of Maria Henry is grandly conceived, and its expansive features are a kind of summation of Cooke's best work to 1837, the year of its execution. Even from as early as c. 1825, in the group portrait of Elizabeth Valentine and her Children (Valentine Museum, Richmond), we find the same device of the stylish sofa, in the same position (and the large size of the present painting is very closely approximated). Cooke's painting of Judith Walker Rives (1830: still in the family collection in Albemarle Co., VA) displays a dress, pose, and background very similar to the painting offered here. One of the artist's most successful and most celebrated paintings, his Susan Jane Donaldson of 1832 (Brooklyn Museum), is nearly identical in size, as in most of its other features, including the distant view behind a billowing red curtain. That last feature is repeated in The Gilchrist Children of 1836 (Gibbes Museum, Charleston), where for the first time we encounter Cooke's device of the children looking through a fictive window with a top arch identical to that in the present canvas. Even closer in date and style is Cooke's portrait of Mary Anne McKenney (1837, Corcoran Gallery): though the vista is shifted to the right background, it is framed by the familiar curtain, now bearing a tassellated fringe identical to Miss Henry's.
The present portrait also clearly served as a pattern for immediately succeeding ones in Cooke's oeuvre. His fine painting of Martha Elizabeth Harris (1839, Maryland Historical Society) shows the same curtain, dress, and especially the same fashionable coiffure; moreover, that sitter's left arm and hand are posed identically as they are here, on the arm of a sofa. Cooke's large painting of Leonora Harper Clayton and her Children (1842, Private Collection) is once more the same size, and has an arched top that is rendered exactly as it is in the present picture. The very large painting of Eliza Smith Collins and her Daughter (1842, Private Collection) exhibits again virtually every feature of this seminal portrait of Maria Henry being offered: the dress, physiognomy and coiffure are once again the same, as is the curtained, colonnaded loggia looking onto a distant view; even the motif of a vine wrapped around one of the columns is repeated from the present picture (and was to become a favorite device of Cooke's, as in his beautiful painting of Sallie Baxter of 1845, also in a Private Collection).
This very impressive portrait of Maria Rosalie Henry, granddaughter of Patrick Henry, wonderfully captures the informal grace of her nineteenth year (she was to marry Dr. Lewis three years later, in 1840) with a broadness of conception and precision of handling that epitomize George Cooke at his best. It is at once a kind of summation of his work to that date, and the harbinger of many beautiful canvases to come.
Reference: Donald D. Keyes et al., George Cooke, 1793-1849, Georgia Museum of Art, Athens, 1991, esp. cat. nos. 2, 5, 6, 7, 8, 10, 11, 12, and 14.
Image Of Lot 0471

Image Of Lot 0471

Image Of Lot 0471

Image Of Lot 0471

471. William Henry Buck (American/Louisiana, 1840-1888), "Louisiana Bayou: Live Oaks and Water Lilies at Dusk", oil on canvas, signed lower right, 13 in. x 17 3/4 in., period frame. $25000/35000
Provenance: Estate of a St. Louis, Missouri collector.Note: William Henry Buck's romantic and atmospheric depictions of the Louisiana landscape are noted for his moss-laden live oak trees and views of bayous. He achieved a recognizable compositional style which makes his work discernible from that of his contemporaries. As shown in the work offered here, Buck often paints a large live oak tree placed prominently within the picture, creating an anchor for the scene. This landscape is depicted just after the sun has set with dark trees silhouetted against a fiery sky ablaze with hues of yellow and orange. Lily pads in bloom float in the foreground of the bayou illuminated with the reflection of the sunset.
Image Of Lot 0472

Image Of Lot 0472

Image Of Lot 0472

Image Of Lot 0472

472. Harry Herman Roseland (American, c. 1868-1950), "Mammy's Predictions", 1942, oil on canvas, signed and dated lower left, 18 in. x 24 1/4 in., period frame with artist and title plaque. $8000/12000
Provenance: A New York City Gallery, c. 1945; descended in a Kentucky family.
Image Of Lot 0957

Image Of Lot 0957

957. William Woodward (American/New Orleans 1859-1939), "Still Life of Pears", 1888, oil on canvas affixed to wood panel, initialed and dated lower right, inscribed en verso with provenance, 6 in. x 8 in., unframed. $1000/1500
Provenance: Descended in the family of Louise Amelia Giesen Woodward, wife of William Woodward
Image Of Lot 0958 958. Charleston School, early 20th c., "A Charleston Doorway", watercolor on paper, illegibly signed "H...M...and" lower left, 17 1/2 in. x 14 in., period frame. $800/1200
Image Of Lot 0959 959. William Woodward (American/New Orleans, 1859-1939), "Old French Market Inside", 1884, drypoint etching, pencil-signed, signed and dated in plate lower left, image 9 3/4 in. x 6 1/4 in., sheet 11 in. x 7 1/4 in., framed. $800/1200
Reference: Included in French Quarter Etchings of Old New Orleans by William Woodward, foreword by Nathaniel Curtis, The Magnolia Press: New Orleans, 1938, plate 21.
Image Of Lot 0965 965. Rosalie Roos Wiener (American/New Orleans 1899-1982, active Newcomb College 1931-1935), "Still Life of Roses in a Blue Vase", watercolor, signed lower right, 13 1/2 in. x 8 3/4 in., framed. $500/700
Provenance: Ex-Collection of Dr. James W. Nelson, Gonzales, Louisiana.
Image Of Lot 0966 966. Marie Atkinson Hull (American/Mississippi, 1890-1980), "Moss Hung Oak", watercolor on paper, signed lower right, signed, titled and inscribed en verso, 11 1/4 in. x 14 1/2 in., matted and framed. $1500/2500
Provenance: Gift of the artist to current owner.
Image Of Lot 0967

Image Of Lot 0967

Image Of Lot 0967

967. Marie Atkinson Hull (American/Mississippi, 1890-1980), "Wash Day", watercolor on paper, signed lower left, signed, titled and inscribed en verso, 10 in. x 14 in., and "Cabin in the Woods", watercolor on paper, signed lower right, 15 in. x 18 in., both unframed. (2 pcs.) $1200/1800
Provenance: Gift of the artist to current owner.
Image Of Lot 0968 968. Alexander John Drysdale (American/New Orleans, 1870-1934), "Dawn on the Louisiana Bayou", oil wash on board, signed lower right, sight 19 3/4 in. x 29 1/2 in., period frame. $2500/3500
Image Of Lot 0969 969. Alexander John Drysdale (American/New Orleans, 1870-1934), "Live Oak Tree and Pirogue", 1932, oil wash on board, signed and dated lower left, 10 1/2 in. x 20 in., framed. $2000/3000
Image Of Lot 0970

Image Of Lot 0970

Image Of Lot 0970

970. Knute Heldner (Swedish/Louisiana, 1877-1952), "Summer Landscape", oil on canvas, signed lower right, old inscription "Property of Bess L. Mc Allister" en verso, 12 in. x 16 1/8 in., period frame. $1800/2500
Image Of Lot 0971 971. George Frederick Castleden (British/New Orleans, 1861-1945), "Courtyard of Le Petit Theatre", 1938, watercolor, signed and dated lower right, sight 12 1/2 in. x 9 1/2 in., matted and framed. $1200/1500
Image Of Lot 0973

Image Of Lot 0973

973. Southern School, mid-19th c., "Portrait of Thomas Ruffin, Jr. (North Carolina, 1824-1889) and his wife Mary Clark (Cain) Ruffin (North Carolina, 1827/8-1908)", probably c. 1858, the year of their marriage, a pair of oils on canvas, unsigned, 29 1/4 in. x 24 1/4 in. and 29 3/4 in. x 25 in., respectively, framed alike. $2000/3000
Provenance: Descended in the family of the sitters; to their son William C. Ruffin (b. 1865); to his daughter Jane Ruffin Ferrell (1900/1-1965); to her daughter Mary F. Reily, New Orleans.Note: Attorney Thomas Ruffin, Jr. was the son of Judge Thomas Carter Ruffin (1787-1870), Chief Justice of the North Carolina Supreme Court 1833-1852.
Image Of Lot 0974 974. J.S. Marsh (American, 19th c.), "Mouth of the St. John's River, Fla-Looking out to Sea", 1872, oil on board, signed and dated lower left, signed, titled, and dated on period label en verso, 11 3/4 in. x 19 3/4 in., framed. $5000/8000
Note: Another landscape by this artist, also dated 1872, is in the Roger Ogden collection and illustrated in Art in the American South, p. 24. The painting offered here shows the St. John's River lighthouse among the dunes and palm trees at the mouth of the river. Originally built in 1830, the lighthouse went through several relocations at the mouth of the river. This work is a rare early view of Northeast Florida.Only a handful of artists, such as John Bunyan Bristol, George Harvey and Edwin Lord Weeks, had painted views of Florida earlier than Marsh's work here.
Reference: Delehanty, Randolph. Art in the American South: Works from the Ogden Collection. Baton Rouge: LSU Press, 1996.
Image Of Lot 0975 975. Attributed to George Henry Clements (American/Louisiana, 1854-1935), "Sail Boat on Lake Pontchartrain at Dusk", watercolor, unsigned, 11 in. x 15 in., framed. $700/1000
Image Of Lot 0978 978. Alexander John Drysdale (American/New Orleans, 1870-1934), "Live Oaks, Louisiana Bayou", oil wash on board, signed lower left, sight 4 3/4 in. x 9 1/2 in., framed. $800/1200
Image Of Lot 0979

Image Of Lot 0979

Image Of Lot 0979

979. Marie Atkinson Hull (American/Mississippi, 1890-1980), "Still Life of Petunias", 1943, oil on canvas board, signed lower right, signed, titled and dated on "From Mrs. Emmett J. Hull, 825 Belhaven Street, Jackson, Mississippi" label, Bryant Galleries, Jackson label, and Devoe and Raynolds Co. label en verso, 20 in. x 15 3/4 in., period frame. $2500/3500
Image Of Lot 0980 980. Louise Sarrazin (American/New Orleans, 1888-1967), "Cabin Scene", 1944, watercolor on paper, signed and dated lower right, sight 14 1/2 in. x 19 3/4 in., gilt frame. $800/1200
Image Of Lot 1044

Image Of Lot 1044

1044. American School, mid-19th c., "Portrait of Elizabeth Ann Kennedy with her Pet Canary, a Seascape in the Window Beyond", oil on canvas, unsigned, 45 1/2 in. x 33 in $1500/2500
Provenance: Descended from the sitter to Mr. and Mrs. Jefferson Davis Hardin, Jr., Oak Alley Plantation, Vacherie, LA; thence by bequest to their daughter, Julia Hardin Kuntz.
Image Of Lot 1251 1251. William Hemmerling (American/Louisiana, c. 1943-2009), "Family Gathering", multi-media painting and construction, signed lower center, 30 3/4 in. x 12 1/4 in. x 5 in. $700/900
Image Of Lot 1259

Image Of Lot 1259

Image Of Lot 1259

1259. William Aiken Walker (American/South Carolina, 1838-1921), "Elderly Male Cotton Picker Smoking a Pipe in the Fields with Basket on his Head", oil on artist's board affixed to wood panel, unsigned (possibly reduced), 7 1/4 in. x 4 in., period gilt frame. $3000/5000
Note: To be included in John Fowler's forthcoming catalogue raisonné on William Aiken Walker.
Image Of Lot 1260 1260. George Joseph Amede Coulon (American/New Orleans, 1854-1922), "Nature Morte: Duck", pastel on paper, signed lower right, mat sight 18 3/4 in. x 32 3/4 in. $1500/2500
Provenance: W.E. Groves, New Orleans to collection of Felix H. Kuntz, New Orleans.
Image Of Lot 1261 1261. George Joseph Amede Coulon (American/New Orleans, 1854-1922), "Nature Morte: Trout", pastel on paper, signed lower right, mat sight 32 3/4 in. x 18 3/4 in. $1500/2500
Provenance: W.E. Groves, New Orleans to collection of Felix H. Kuntz, New Orleans.
Image Of Lot 1262 1262. Clementine Hunter (American/Louisiana 1887-1988), "Funeral Procession", oil on canvas board, monogrammed lower right, 16 in. x 20 in. $1500/2500
Image Of Lot 1263

Image Of Lot 1263

1263. Jack R. Meyers (American/New Orleans, 1930-1994), "The Abandoned Church", 1978, acrylic on masonite, signed and dated lower right, 15 1/2 in. x 19 1/2 in., framed. $2000/3000
Image Of Lot 1264

Image Of Lot 1264

Image Of Lot 1264

1264. William Branks Stewart (Scotland/New Orleans, 1898-1950), "Gulf Coast Marsh", 1943, oil on canvas board, signed and dated lower right, New Orleans Art League label with title en verso, 19 3/4 in. x 23 3/4 in., period frame. $1200/1800
Provenance: Acquired from the artist by a New Orleans family.
Image Of Lot 1265

Image Of Lot 1265

1265. William Branks Stewart (Scotland/New Orleans, 1898-1950), "Old House on the River Road (on the Mississippi, just north of New Orleans)", c. 1930s, oil on canvas board, unsigned, titled, dated, provenance and photograph of the artist en verso, 18 in. x 24 in., unframed. $500/700
Image Of Lot 1266 1266. William Branks Stewart (Scotland/New Orleans, 1898-1950), "Beach Picnic, Lake Pontchartrain", oil on canvas board, unsigned, 19 3/4 in. x 23 3/4 in., period frame. $1000/1500
Provenance: Acquired from the artist by a New Orleans family.
Image Of Lot 1266A

Image Of Lot 1266A

1266A. William Branks Stewart (Scotland/New Orleans, 1898-1950), "Back View of Plantation, Edgard, Louisiana", c. early 1940s, pen and ink, unsigned, 5 in. x 7 1/4 in., framed. $200/400
Provenance: Acquired from the artist by a New Orleans family.
Image Of Lot 1267 1267. Arnold E. Turtle (British/New Orleans, 1892-1954), "Beauregard-Keyes House, Chartres Street, French Quarter", watercolor and charcoal, signed lower right, sight 12 1/2 in. x 9 1/2 in., matted and framed. $500/800
Image Of Lot 1268 1268. Ruth A. Anderson (American/Florida, 1891-1957), "Cypress in Moonlight", watercolor, signed lower mid left, signed, titled and artist's label en verso, sight 17 in. x 21 in., matted and framed. $400/600
Image Of Lot 1270 1270. Bertha Driver (American/Texas, 20th c.), "Texas Bluebonnets", oil on canvas board, signed lower right, B. Driver Studio, Dallas label and pencil inscribed Bertha Driver en verso, 9 in. x 15 1/2 in., period frame. $500/700
Image Of Lot 1271 1271. Linda Picker (American/Arkansas, b. 1944), "Mallards in Flight", 1985, watercolor, signed lower right, sight 16 3/4 in. x 28 1/2 in., matted and framed. $800/1200
Image Of Lot 1272 1272. Xavier Gonzales (Spain/Louisiana, 1898-1993), "Along the Shore", 1963, watercolor, signed, dated and inscribed "To Herbert & Evelyn" lower right, sight 17 1/4 in. x 13 5/8 in., period frame. $800/1200
Image Of Lot 1291 1291. Don Wright (American/Louisiana, 1938-2007), "Still Life of Fruit", 1975, oil on canvas board, signed and dated lower right, sight 8 3/4 in. x 11 1/2 in., framed. $400/600
Provenance: Ex-Collection of Dr. James W. Nelson, Gonzales, Louisiana.
Image Of Lot 1292

Image Of Lot 1292

1292. Ellsworth Woodward (American/New Orleans, 1861-1939), "Soldier's Profile", double sided pencil drawings, unsigned, 6 3/4 in. x 10 1/4 in., framed. $600/800
Provenance: Ex- Collection of Carl Ellsworth Woodward; from Ellsworth Woodward's Sketchbook, c. 1890 (accompanied by photocopy relating to provenance).
Image Of Lot 1293 1293. Mercedes Herr (Louisiana, 1869-1956), "Louisiana Landscape", 1922, pastel, signed lower right, Seebold label en verso, 18 1/4 in. x 9 3/4 in., framed. $400/600
Image Of Lot 1294 1294. Rolland Golden (American/Louisiana, b. 1931), "Seated Female Nude", 1963, watercolor, signed and dated lower right, Rolland Golden, Patio Art Studio, Royal Street card en verso, sight 16 in. x 13 in., framed. $400/600
Image Of Lot 1295

Image Of Lot 1295

1295. Colette Pope Heldner (American/New Orleans, 1902-1990), "Swamp Idyll (Louisiana Bayou Country)", oil on canvas, signed lower left, signed, titled and with "The Little Gallery, Rue Royale, New Orleans" stamp en verso, 16 in. x 20 in., period frame. $800/1200
Image Of Lot 1299

Image Of Lot 1299

1299. Beauregard A. Redmond (New Orleans/Florida, 20th c.), "The Turpin-Kofler-Buja House, 2321 Magazine Street, New Orleans", 1968, oil on masonite, initialed and dated lower left, signed, dated and inscribed en verso, 20 in. x 28 in., framed. $1000/1500
Note: Born in New Orleans, Beauregard Redmond graduated from Washington and Lee University with dual majors in Fine Arts and Economics. Initially Redmond pursued a career in banking, while continuing to paint and exhibit his works at the Downtown Gallery. In 1980, he gave up banking to become a full time painter. Soon after, he moved to St. Augustine, Florida, where he opened a studio. Paintings by this artist generally convey a strong sense of time and place, as can be seen here. The Turpin-Kofler-Buja House was designed by New Orleans architect James Gallier, Jr., best known for his design of the French Opera House in 1859.
Image Of Lot 1300 1300. Noel Rockmore (American/New Orleans, 1928-1995) "After Life: Egyptian Series", watercolor and ink, signed, titled and dated lower right, Bryant Galleries, New Orleans label en verso, sight 14 1/2 in. x 20 in., matted and framed. $300/500
Image Of Lot 1301 1301. Noel Rockmore (American/New Orleans, 1928-1995), "Three Revelers: Egyptian Series", 1990, acrylic on canvas, signed and dated lower right, title label and Bryant Galleries Ltd, New Orleans label en verso, 48 in. x 36 in., framed. $1500/2500
Image Of Lot 1302 1302. Noel Rockmore (American/New Orleans, 1928-1995), "Yellow Girls - Old Kingdom: Egyptian Series", 1990, oil on canvas, signed and dated upper right, title label and Bryant Galleries Inc., New Orleans label en verso, 36 in. x 48 in., framed. $1500/2500
Image Of Lot 1303

Image Of Lot 1303

1303. Martin Laborde (American/New Orleans, b. 1943), "Snake Woman", oil on canvas, signed and dated "'86" lower right, signed, titled and dated "6/12/86" en verso, 36 in. x 24 in., unframed. $500/800
Image Of Lot 1304

Image Of Lot 1304

1304. Martin Laborde (American/New Orleans, b. 1943), "I-Two", oil on canvas, signed and dated "84" lower right, signed, titled, dated, and inscribed "Izzy Moto & The Clang Clones" en verso, 31 7/8 in. x 25 1/8 in., unframed. $500/800
Image Of Lot 1305 1305. Charles Whitfield Richards (American/New Orleans, 1906-1992), "Self-Portrait with Donna", 1988, oil on canvas, signed lower left, inscribed en verso on stretcher, 22 in. x 28 in., framed. $500/700
Provenance: Collection of Alice Barry, New Orleans and Pass Christian, MS.
Image Of Lot 1306 1306. Leo Meiersdorff (American/New Orleans, 1934-1994), "Big Band Night, New Orleans Steamboat Co. Restaurant", 1990, watercolor on paper, signed and dated upper left, 22 1/4 in. x 30 in., framed. $500/800
Image Of Lot 1307 1307. Leo Meiersdorff (American/New Orleans, 1934-1994), "Jam Session, Cajun Seafood Restaurant", 1990, signed and dated upper left, 22 in. x 30 in., framed. $500/800
Image Of Lot 1309

Image Of Lot 1309

1309. Xavier de Callatay (Belgium/New Orleans, 1932-1998) "Iron", 1963, oil on canvas, initialed lower right, signed, inscribed and dated en verso, 9 in. x 9 in., framed. $400/600
Image Of Lot 1310

Image Of Lot 1310

1310. Malaika Favorite (Louisiana/Georgia, b. 1949), "Women", oil on shaped canvas, signed lower left, Stella Jones Gallery, New Orleans label en verso, 29 in. x 25 in. $1000/1500
Provenance: Estate of Judith Gic Shelton, New Orleans.
Image Of Lot 1311 1311. Tayo Adenaike (Nigerian, b. 1954) "Untitled", 1997, watercolor, signed and dated lower right, Stella Jones Gallery, New Orleans label en verso, 23 in. x 17 in., matted and framed. $1200/1800
Image Of Lot 1312

Image Of Lot 1312

Image Of Lot 1312

1312. Phoebe Beasley (American, b. 1943), "Freeway to Canaan", 1992, mixed media collage on canvas, signed lower left, signed, dated, artist's stamp and Stella Jones Gallery, New Orleans label en verso, 40 in. x 30 in., framed. $1200/1800
Image Of Lot 1313

Image Of Lot 1313

Image Of Lot 1313

1313. Randell Henry (American/Louisiana, b. 1958), "Blue Figure II", 1998, acrylic and oil paintsticks on masonite, signed and dated upper right, signed, titled, dated and Stella Jones Gallery, New Orleans label en verso, 24 in. x 24 1/6 in., framed. $500/700
Image Of Lot 1314

Image Of Lot 1314

Image Of Lot 1314

Image Of Lot 1314

1314. Matthew Tarrell (American, 20th/21st c.), "Porch Scenes", 1998, two oils on canvas, both signed and dated lower right, signed and dated en verso, 30 in. x 24 in., framed. $700/900
Provenance: Estate of Judith Gic Shelton, New Orleans.
Image Of Lot 1315 1315. Tommy Yow (American/New Orleans, 20th c.), "Old Spanish Stables, 716-24 Governor Nicholls Street", oil on canvas, signed lower right, 16 in. x 20 in., framed. $300/500
Image Of Lot 1316

Image Of Lot 1316

1316. Robin Durand (American/New Orleans, 20th c.), "Sunset Houses", oil on masonite, signed lower right, titled and Cole Pratt Gallery Ltd., New Orleans labels en verso, 10 in. x 8 in., framed. $250/350
Image Of Lot 1317

Image Of Lot 1317

1317. James Michalopoulos (American/New Orleans, b. 1951), "Orb for a Pass", 2001, oil on canvas, signed lower left, signed, dated, and titled en verso, 36 in. x 48 in., framed. $6000/8000
Image Of Lot 1318

Image Of Lot 1318

Image Of Lot 1318

1318. James Michalopoulos (American/New Orleans, b. 1951), "Red Shutters", 1998, oil on canvas, signed lower left, signed and dated en verso, 24 in. x 48 in., framed. $5000/7000
Image Of Lot 1319

Image Of Lot 1319

1319. Robin Durand (American/New Orleans, 20th c.), "Overpass and House", oil on masonite, signed lower left, titled and Cole Pratt Gallery, Ltd., New Orleans labels en verso, 16 in. x 20 in., framed. $250/350
Image Of Lot 1330

Image Of Lot 1330

1330. Sam Still (American/New York, b. 1943), "Smooth Jazz I" and "Smooth Jazz II", 1981, two ink and Prismacolors on paper, signed, titled and dated en verso, sight 11 1/2 in. x 22 in., framed. $400/600
Provenance: The Imagination Collection, Hotel InterContinental, New Orleans, LA.
Image Of Lot 1331 1331. Robyn Geddes (American, 20th/21st c.), "Dove", 1996, oil on canvas, signed, titled and dated en verso, 15 in. x 52 in., unframed. $800/1200
Provenance: Collection of Molly Reily, New Orleans, LA.Note: Geddes was an assistant to Andy Warhol, 1978-1983.
Image Of Lot 1332 1332. Allison Stewart (American/New Orleans, b. 1941) "Abstraction with Blue and Orange", 1983, acrylic on canvas, signed and dated en verso, 36 in. x 60 in., unframed. $700/1000
Provenance: The Imagination Collection, Hotel InterContinental, New Orleans, LA.
Image Of Lot 1333 1333. Allison Stewart (American/New Orleans, b. 1941) "Abstraction with Orange, White and Black", 1983, acrylic on canvas, signed and dated en verso, 36 in. x 60 in., unframed. $700/1000
Image Of Lot 1334 1334. Allison Stewart (American/New Orleans, b. 1941), "Origami II", acrylic on canvas, signed and titled en verso, 60 in. x 48 in., unframed. $1200/1800
Image Of Lot 1339 1339. John Akers (American, d. 2006), "A Golden Moment", oil on masonite, signed lower right, titled en verso, 23 3/4 in. x 40 in., frame with artist plaque. $1200/1800
Image Of Lot 1367

Image Of Lot 1367

1367. Nestor Hippoyle Frugé (American/New Orleans, b. 1916), "French Quarter Street Scene" and "Cabin on the Bayou", two watercolors, both signed lower left, each 15 in. x 11 in., framed as a pair. $400/600
Image Of Lot 1368 1368. Dorothy Kuester (American/New Orleans, mid-20th c.), "Brulatour Courtyard, French Quarter", 1937, oil on canvas board, signed and dated lower right, 15 1/2 in. x 11 1/2 in., period frame. $250/350
Image Of Lot 1369 1369. Al Federico (American/New Orleans, 20th c.), "French Quarter Courtyard", 1978, acrylic on masonite, signed and dated lower right, 20 in. x 16 in., framed. $300/500
Image Of Lot 1370

Image Of Lot 1370

1370. Don Wright (American/Louisiana, 1938-2007), "On Night: Moonlit Cabin on the Bayou", 1995, oil on canvas, signed, titled and dated en verso, 18 in. x 13 3/4 in., framed. $500/800
Image Of Lot 1371 1371. Colette Pope Heldner (American/New Orleans, 1902-1990), "Le Petit Theatre Courtyard, French Quarter", oil on canvas, signed lower left, 20 in. x 36 in., framed. $1000/1500
Image Of Lot 1372

Image Of Lot 1372

1372. Allison Stewart (American/New Orleans, b. 1941), "Irises", pair of pastels on paper, one signed and inscribed "For Adelle" lower right, each 20 1/2 in. x 11 3/8 in., in matching frames. $500/800
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