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Information below is the lot/description information from our Louisiana Purchase Auction, October 3, 4 & 5, 2003. 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 501-600

501. American School, early-to-mid 19th c., "Portrait of a Young Girl in a White Dress", oil on canvas, unsigned, 28 in. x 25 in., in a period giltwood frame. [$3000/4000]
502. [John James Audubon] Marshall B. Davidson, ed., The Original Water-Color Paintings by John James Audubon for the Birds of America, Vols. I-II, American Heritage Publishing Co., Inc., 196. [$300/500]
503. [John James Audubon] Roger Tory and Virginia Marie Peterson, The Audubon Society Baby Elephant Folio: Audubon's Birds of America, Abbeville Press, 1981. [$500/700]
504. [Map] Guillaume De L'Isle, "Carte de la Louisiane Et Du Cours Du Mississippi Dresseé Sur Un Grande Nombre De Memoires", engraving, sight 18 in.x 23 3/4 in. [$2000/3000]
505. [Map] Thomas Jefferys, "Carte De La Floride Occidentale Et Louisiane, La Peninsule Et Golfe De La Floride Ou Canal De Bahama Avec Les Isles De Bahama", 1777, hand-colored engraving, sight 19 3/4 in. x 47 1/4 in. [$2000/3000]
506. [Map] M. De Sartine, "Carte D'Une Partie Des Cotes De La Floride Et De La Louisiane, Contenant Le Cours Du Mississipi", 1778, engraving, 17 1/2 in. x 24 1/4 in., unframed. [$1500/2000]
507. [Map] Guillaume De L'Isle, "Carte Du Mexique Et Du La Floride Des Terres Angloises Et Des Isles Antilles Du Cours Et Des Environs De La Riviere De Mississipi", 1703, engraving, sight 19 1/2 in. x 26 1/4 in. [$1200/1800]
508. 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. [$15000/25000]
Note: The French academic portrait painter Jean Joseph Vaudechamp began his annual winter trips to New Orleans in 1831. In the prevailing neo-classical style of the French masters of the day, Jacques Louis David and Jean Dominique Ingres, Vaudechamp painted elegant portraits that reflect the sophistication and wealth of the Creole community in New Orleans during the 1830's.
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 this Jean Baptiste Augustin 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, to daughter Caroline Wogan Sontheimer.
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.
509. Louisiana School, 19th c., "William J. Behan as a Confederate Soldier", pastel, unsigned, 16 in. x 12 3/4 in., in period ornate giltwood frame. [$2000/3000]
Note: During the Civil War, William J. Behan (1840-1928) enlisted in the Washington Artillery and rose to rank of major. From 1882 to 1884, Behan served as mayor of New Orleans. For many years, he was Captain of the Mistick Krewe of Comus.
510. Louisiana School, 19th c., "Bessie Behan Lewis as a Baby", pastel, unsigned, sight 10 in. x 7 1/2 in., in a period frame. [$200/400]
Note: Bessie Behan Lewis was a daughter of New Orleans Mayor William J. Behan.
511. A Pair of Cameos of "New Orleans Mayor William J. Behan" and his daughter "Mrs. Andre Dreux, neé Katherine Behan", framed together. [$500/700]
Note: New Orleans Mayor William J. Behan and his wife Katie Walker Behan had two daughters, Bessie and Katherine.
512. Nina Meucci (Italian/American, active New Orleans 1818-1826), "Portrait of Jno. B. McClanahan", 1819, miniature watercolor, signed middle right, signed, titled, dated and inscribed "New Orleans" on backing, note from sitter inside frame "Jno. B. McClanahan/taken by an/Italian in 1819/at the time a good/likeness-it has altered/much less in appearance/than the original/June 1839", in a period frame, sight 2 7/8 in. x 2 1/8 in. [$1500/2500]
Note: Both artists, Anthony and Nina Meucci arrived in New Orleans in 1818 and open a studio on St. Ann Street in the French Quarter. Since it was difficult for a woman to study art in the early nineteenth century, Nina trained with her husband and came to specialize in miniature painting. This charming portrait of New Orleanian "Jno. B. McClanahan" reflects Nina talent and skill at miniature portrait painting.
513. Nicola Marschall (Kentucky/Alabama, 1829-1917), "Mrs. Maxwell", oil on canvas, unsigned, artist and title plaque on frame, 27 in. x 22 in., in a period giltwood frame. [$3000/5000]
514. Nicola Marschall (Kentucky/Alabama, 1829-1917), "Napoleon Lockett, 1883", oil on canvas, signed, dated "1883" and inscribed "Xmas" lower left, artist and titled plaque on framed, 24 in. x 20 in., in a period giltwood frame. [$2000/4000]
Note: Nicola Marschall arrived in New Orleans from his native Prussia in 1849. He then settled in Mobile, where he joined the faculty of the Marion Female Institute as an instructor of art and became the city's most celebrated portrait artist. In February of 1861, Mrs. Napoleon Lockett (née Mary Clay) and her daughter, Fannie Lockett Moore, daughter-in-law of Alabama Governor Andrew Barry, commissioned Marschall to design the Confederate flag. He designed three versions of the flag, with the "Stars and Bars" design being selected.
Marschall painted this posthumous portrait of Napoleon Lockett (1813-1867) in 1883. Probably during the 1860s, Marschall painted the portraits of both Mary Clay Lockett (in the collection of the First White House of the Confederacy in Montgomery) and Napoleon Lockett (in the collection of Alabama Department of Archives and History).
Ref: E. Bryding Adams, Made in Alabama: A State Legacy, Birmingham Museum of Art, 1995, pp 158-60.
515. George Rodrigue (American/Louisiana, b. 1944), "Cabin on the Bayou", oil on canvas, signed en verso, 11 in. x 14 in. [$2500/3500]
516. Joseph Rusling Meeker (American, 1827-1887), "Live Oaks, Louisiana" oil on canvas, signed lower right and dated "82", monogrammed, titled and dated "1882" en verso, 14 in. x 24 in. [$25000/35000]
517. 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. [$4000/6000]
Provenance: Collection of William Forsyth family.
Note: In 1899 William Forsyth accepted the invitation of his fellow Hoosier Group artists Theodore Clement Steele and J. Otis Adams to visit their studio/home, The Hermitage, in Brookville, Indiana. Other notable artists including Lewis Henry Meakin and Otto Stark made regular visits to The Hermitage, which subsequently became known as the "Barbizon of Indiana." From the vantage point east of the Whitewater River, Forsyth captured in this painting the quaint charm of the historic town of Brookville.
Ref: Martin Krause, The Passage, Return of Indiana Painters from Germany, 1880-1905, Indianapolis Museum of Art, 1990.
518. Mark Catesby (British, 1679-1749), "The Yellow Rump, Helleborine Lily Folio", plate T58, hand-colored copper plate engraving, first edition, "J. Whatman" watermark, plate size 14 in. x 10 1/4 in., sheet size 20 5/8 in. x 14 5/8 in., unframed. [$600/900]
519. Currier and Ives Publisher, "Low Water in the Mississippi", hand-colored lithograph, large folio, sight 22 1/2 in. x 31 1/2 in. [$2000/3000]
Provenance: Succession of Raymond H. Weill.
520. Currier and Ives Publisher, "The Great Mississippi Steamboat Race", hand-colored lithograph, small folio, sight 9 1/2 in. x 12 3/4 in. [$300/500]
Provenance: Succession of Raymond H. Weill.
521. Currier & Ives Publisher, "Home on the Mississippi", hand-colored lithograph, inscribed lower middle "Presented to Mattie Bennett by Allen R. Jacobs 1891", sight 11 1/2 in. x 15 3/8 in., in an antique giltwood frame. [$300/500]
522. Theodore Lilienthal (German/New Orleans, b. 1829), "Steamboat Natchez", albumen photograph affixed to a vintage decorative mat, photographer's name inscribed lower left, photograph size 10 3/4 in. x 14 3/4 in., sight 18 1/4 in. x 21 1/2 in. [$3500/4500]
523. An Antique American Walking Stick, late 19th c., the 22 kt. gold handle embossed with scrolling garlands and engraved "Col. W.A. Johnson from Sam Shloss", on an ebonized shaft, retaining the metal tip, length 36 3/4 in., handle width 3 in. [$4000/6000]
Note: Colonel William A. Johnson served with Philip Roddey's 4th Alabama Cavalry under General Nathan Bedford Forrest. On September 27, 1864 during the Battle of Sulphur Trestle in Tennessee, Johnson was badly wounded, and returned to his Tuscumbia, Alabama home to recover. He rejoined his regiment to lead charges at Chattanooga, Dalton, Montevallo, and Selma. This cane was likely a gift to Johnson after the war.
Provenance: Acquired by the present owner from the Pascagula, Alabama estate of Johnson's grandson.
524. A Pair of American Iron and Brass Andirons, c. 1800, with brass orb finials on iron shafts supporting adjustable spit hooks (for use with a clock jack for roasting meat), height 18 1/2 in., length 27 in. [$600/900]
525. A Pair of Antique American Cast-Iron "Hessian" Figural Andirons, mid-19th c., featuring striding soldier-like figures in profile, height 12 1/2 in., width 6 1/4 in., length 14 in. [$150/250]
526. A Fine American Cotton Quilt, c. 1830, possibly Baltimore, with applique chitz flower basket and monogram, having 11 stiches to the square inch. [$3500/5000]
527. A Louisiana Spanish Colonial Shipping Document, dated May 1802 and June 1802, signed by Manuel Juan de Saledo, the last Spanish Colonial Governor of Louisiana. [$400/600]
528. [LOUISIANA/JOHN LAW], "Missisipi, of ‘t Wyd-Befaamde Goud-Land, Door de Inbeelding Der Wind-Negotie [Mississippi, or the Famous Gold-Land, Through The Imagination of the Air-Trade], copper engraving, anonymous engraver, with water-mark, 14 1/2 in. x 11 1/4 in., unframed. [$300/500]
Note: The following satirical engraved verses relate to the "Mississippi Bubble" and the collapse of the French Compagnie d'Occident. The company was founded in 1717 by financial wizard John Law (Scottish, 1671-1729) using the extensive powers granted him by the French Government to exploit the Mississippi Valley. The value of shares in the company soared, but when sharholders attempted to cash in their profits the company went bankrupt, ruining many investors. Numerous engravers published satires on the events emphasizing the gullible investors. The most famous one is Het Groote Tafereel der Dwaasheid [The Great Mirror of Folly], by L'Honoré and Chatelain (Amsterdam, 1720).
Ref: http;//www.maptorum.com/05/law.htm, (Carswell, John, The South Sea Bubble, London, 1960)
528A. [LOUISIANA/JOHN LAW], "De Inbeelding: Heersseres van't Rookverkopers-gild, Maald Missisippi hier, ‘t geen Vrankryks schat verspild [The Imagination: Ruler of the Smoketrade-gild, Where the Mississippi flows, wasting France's Treasures]", copper engraving, illegibly signed in plate, with watermark, 19 3/4 in. x 17 1/4 in., unframed. [$300/500]
529. [Slavery, Louisiana] Act of Sale of a Sixteen Year Old Mulatto Girl named Mary, dated November 24th, 1855, from James W. Boazman of New Orleans to Charles T. Fair of West Feliciana, on light blue printed paper; accompanied by a brass medallion "Mayoralty N.O. 3353" on a blue and white striped cloth ribbon. [$400/600]

530. [Louisiana Spanish Colonial Period] Handwritten letter from Governor Manuel Luis Gayosa De Lemos Y Amorin (1747-1799) to Estevan Minor, dated "New Orleans 9th" ca. 1780s, three pages written in English. [$500/700]

531. [American Atlas] Nicolas Sanson d'Abbeville L'Amerique en Plusieurs Cartes Nouvelles et Exactes; et En Divers Traittez De Geographie & D'Histoire, 1683, Free Library of Philadelphia stamps, Withdrawn Free Lib. Phila Foundation 2003 stamp, cloth cover with leather spine. [$2000/3000]
532. An Autographed Letter from Pierre Gustave Toutant Beauregard, regarding sending "you herewith, as requested one of my photographs, it is the copy of one taken at Charleston in 1863", together with an engraved portrait, letter size 3 3/4 in. x 4 3/4 in., attractively framed together. [$1000/1500]
533. [Louisiana History] Alcee Fortier, A History of Louisiana, vols. 1-4, prints by Goupil & Co., Paris, published by Manzi, Joyant & Co., New York, 1904, leather bindings with marbelized endpapers. [$1200/1800]
534. Louisiana School, 19th c., "Portrait of a Creole Gentleman", oil on canvas, unsigned, 25 1/2 in. x 21 1/4 in. [$2500/4000]
535. [MISSISSIPPI RIVER] Mark Twain, Life on the Mississippi, 1883, signed by author "with kindest regards, Mark Twain", with more than 300 illustrations, published by James R. Osgood and Company, Boston. [$1500/1700]
536. William Woodward (American/New Orleans, 1859-1939), "Ursuline Convent, New Orleans", Rafaelli oil crayon on board, signed and dated "‘02" lower left, 22 in. x 28 in., in a period frame, together with the invitation to The Historic New Orleans Collection's 2002 exhibition "A Visible Presence; A Legacy of Service, 275 Years of the Ursulines in New Orleans", featuring this painting on the cover. [$25000/35000]
Note: The Ursuline Convent, one of the oldest buildings in the Mississippi River Valley, was a center of religious life in New Orleans. By focusing on the bustling corner of Chartres and Ursuline Streets, William Woodward captured a typical morning in the French Quarter at the turn of the century. Two nuns in full habits leave the confines of the convent, while a laborer carries a heavy sack of goods on his back. An African-American woman wearing a tignon sits by the convent wall selling her wares to passersby.
William Woodward paintings of the French Quarter reflect his roles as founder of Tulane University's architecture school and as an active historic preservationist. Woodward was concerned about the ongoing modernization and haphazard renovations of the historic district. These paintings served as documentation as well as a testimony to the historical importance of the French Quarter. Preferring to use Rafaelli oil crayons for this series, Woodward created lively colorful views of the historic buildings and vistas of the French Quarter. The textured quality of the oil crayons worked well to depict the surfaces of the aging buildings and cobblestone streets.
Ref. Randolph Delehanty, Art in the American South: Works from the Ogden Collection, Louisiana State University Press, 1996.
537 Clarence Millet, A.N.A. (American/New Orleans, 1895-1959), "The Shadow", oil on canvas, signed lower left, National Academy of Design 132nd Annual Exhibition in 1957 label en verso, 30 in. x 36 in., in a period frame. [$15000/25000]

538. Vince Zenone (American, 20th c.), "Raymond H. Weill, Rare Stamps Shop on Royal Street", watercolor, signed and dated "71" lower right, sight 13 3/4 in. x 10 in. [$300/500]
Provenance: Succession of Raymond H. Weill.
Note: For many years Weill used this image in his advertisements, notably the back cover of The New Yorker. See illustration page 5.

539. Robert Bledsoe Mayfield (American/New Orleans, 1869-1934), "Dr. Isaac Monroe Cline at Home", oil on canvas, signed and dated "Mayf. 1910" lower right, 18 in. x 22 in., unframed. [$5000/7000]
Provenance: Estate of Dr. Isaac Monroe Cline.
Note: In this painting, Dr. Isaac Monroe Cline (1861-1955), the noted meteorologist and art collector, is depicted seated in his home surrounded by his legendary collection of art. Dr. Cline was an early collector of Louisiana paintings, who influenced other collectors including William E. Groves. As honorary curator of the Louisiana State Museum, he was instrumental in shaping the museum's outstanding collection of Louisiana paintings.
The artist Robert Mayfield studied at the St. Louis Academy of Fine Arts and at the Academie Julien in Paris. Mayfield came to New Orleans as the associate editor of the Times-Picayune. He was a personal friend of Dr. Cline; both were active members of the local art community including the Sketch Club. Typically, Mayfield signed his paintings and drawings with "Mayf," an abbreviated version of his name.
Ref: Martin and Margaret Wiesendanger, 19th Century Louisiana Painters and Paintings from the Collection of W.E. Groves, Pelican Publishing Co. 1971.
540. An American Sterling Silver Presentation Cup, c. 1927, by Dominick & Haff, New York, elongated vase form on weighted circular foot, hollowcast scroll handles supporting laurel wreaths, engraved "PRESENTED TO/ DR. ISAAC M. CLINE/ BY THE/ CITIZENS OF NEW ORLEANS/ IN GRATEFUL APPRECIATION/ OF HIS OUTSTANDING SERVICE/ RESULTING IN THE PRESERVATION/ OF LIFE AND PROPERTY DURING/ THE FLOOD OF 1927" and on the opposite side "NEW ORLEANS BOARD OF TRADE/ NEW ORLEANS COTTON EXCHANGE/ NEW ORLEANS STEAMSHIP ASSN", height 16 3/4 in. [$500/700]
Note: This trophy was presented to Dr. Isaac Monroe Cline in appreciation for his forecasting the Great Mississippi River Flood of 1927. Dr. Cline was the highly respected Chief of the regional Office of the U.S. Weather Bureau in New Orleans. Cline's Flood Bulletins, published in the local newspaper, provided updates and warnings which helped people prepare for the imminent disaster.
Ref: John M. Barry, Rising Tide, The Great Mississippi Flood of 1927 and How it Changed America, Simon & Schuster, 1997.
541. Clarence Millet, A.N.A. (American/New Orleans, 1897-1959), "Road from Woodville", oil on canvas, signed lower right, signed and titled en verso, 22 in. x 26 in., in a period frame. Note: A similar work is on exhibit at The Ogden Museum of Southern Art. [$10000/15000]
542. Charles Henry Reinike (American/New Orleans, 1906-1983), "Louisiana Cabin Scene", oil on canvas, signed lower right, 30 1/4 in. x 36 in., in a period frame. [$5000/7000]
543. Maurice Braun (American, 1877-1941), "Louisiana", crayon drawing, pencil-signed lower left and titled lower right, sight 8 3/4 in x 11 in. [$2000/3000]
544. Joseph Rusling Meeker (American, 1827-1887), "Birches on Lake Pepin", oil on canvas, signed and dated "‘73" lower left, monogrammed, titled and dated "1873" en verso, old Kennedy Galleries, Inc., New York label en verso, 12 in. x 10 in. [$6000/8000]
545. Walter Inglis Anderson (American/Mississippi, 1903-1965), "A Study for the Mural of Southern History and Life", c. 1945, oil on plywood panel affixed to masonite, unsigned, 34 in. x 36 in. [$30000/50000]
Provenance: Estate of Robert T. McKnight, former director of the Brooks Museum of Art, (today Memphis Brooks Museum of Art).
Note: Robert J. McKnight, Director of the Brooks Memorial Art Gallery in Memphis was an early champion of the talented, but eccentric Mississippi artist Walter "Bob" Anderson. McKnight persuaded the reclusive Anderson, who was always reluctant to show his paintings and artwork, to have an exhibition of his watercolors of birds at the gallery. McKnight felt that Anderson's brilliantly colored paintings were a link between representational and abstract art of the mid-twentieth century. He wrote of Anderson: "This ability to keep important dimension objects on the same plane by various means is the highest tradition of modern art. While abstractions have perhaps negated realism to emphasize these qualities, here we have in Walter Anderson these very qualities in a high degree combined with an enlivened realism and regionalism. In this respect, Walter Anderson may well be unique." Anderson's artwork reflected his passionate devotion to the study of wildlife of the Mississippi Gulf Coast, particularly his retreat of Horn Island.
After Anderson's death of cancer, McKnight organized a major retrospective entitled The World of Walter Anderson at the Brooks Memorial Art Gallery. McKnight was both an early advocate and collector of Anderson's paintings and pottery. This auction includes five of Anderson's paintings and five pieces of Shearwater Pottery from Robert McKnight's personal collection. Three of the watercolors "Cats", "Trees", and "Island" were included in the retrospective exhibition.
546. Walter Inglis Anderson (American/Mississippi, 1903-1965), "Trees", watercolor on paper, unsigned, 8 1/2 in. x 11 in. [$7000/10000]
Provenance: Estate of Robert T. McKnight. Exhibited in the retrospective exhibition "The World of Walter Anderson" in 1967 at Brooks Memorial Art Gallery as catalogue number 261.
547. Walter Inglis Anderson (American/Mississippi, 1903-1965), "Cat", ink on paper, unsigned, inscribed along the top edge "That the first position in any dance is siting (sic) still", 11 in. x 8 1/2 in. [$1500/2500]
Provenance: Estate of Robert T. McKnight. Exhibited and reproduced in catalogue for the retrospective exhibition "The World of Walter Anderson" in 1967 at the Brooks Memorial Art Gallery as catalogue number 437.
548. Walter Inglis Anderson (American/Mississippi, 1903-1965), "Bird with Iris", watercolor on paper, unsigned, pencil inscribed "Mardi Gras..." lower mid right, 11 in. x 8 1/2 in. [$6000/9000]
Provenance: Estate of Robert T. McKnight.
549. Walter Inglis Anderson (American/Mississippi, 1903-1965), "Horn Island", triptych, unsigned, watercolor on paper, 8 1/2 in. x 33 in. [$12000/18000]
Provenance: Estate of Robert T. McKnight. Exhibited in the retrospective exhibition "The World of Walter Anderson" in 1967 at Brooks Memorial Art Gallery as catalogue number 241.
550. A Rare Newcomb College Art Pottery Seedpod Vase, 1898, decorated by Elizabeth Goelet Rogers, finely painted with a repeating pattern of irises and stylized scrolling foliage, base marked with Newcomb cipher, underglaze decorator's initials and date "E.G.R. 98", Joseph Meyer's potter's mark, and "M", height 5 1/2 in., diameter 7 1/4 in. provenance: descended in the family of the decorator. [$20000/30000]
551. A Shearwater Pottery Sea, Earth and Sky Vase, crisply molded, metallic brown glaze, signed in sgraffito, with an original hole in base for wiring, height 11 3/4 in. [$5000/7000]
Provenance: Estate of Robert T. McKnight.
552. A Shearwater Pottery Pelican Plate, painted in black, blue and white, a pelican bordered with waves, impressed quarter size mark, diameter 10 1/8 in. [$2000/3000]
Provenance: Estate of Robert T. McKnight.
553. A Pair of Shearwater Pottery Thunderstorm Beakers, painted with clouds and rain, white ground underglaze with blue and purple impressed quarter size mark, height 4 1/2 in. [$2000/3000]
Provenance: Estate of Robert T. McKnight.
554. A Shearwater Pottery Blackbird Plate, painted with a pair of blackbirds with conjoined legs, surrounded by clouds and waves, white ground underglaze with blue, yellow and brown, unmarked, diameter 5 7/8 in. [$1500/2500]
Provenance: Estate of Robert T. McKnight.
555. A Shearwater Pottery Bird and Wave Bowl, of flared form, white ground underglaze, the interior painted in blue with a pair of flying birds and waves, impressed quarter size mark, height 2 3/4 in., diameter 8 1/8 in. [$1500/2500]
Provenance: Estate of Robert T. McKnight.
556. Wayman Elbridge Adams (American/New Orleans, 1883-1959), "The Prima Donna", oil on wood panel, signed lower right, title on label en verso, 15 in. x 12 in., in a period frame. [$5000/7000]
Note: Wayman Adams studied at the John Herron Art Institute in Indianapolis under William Forsyth, and later in Europe with William Merritt Chase and Robert Henri. The talented artist traveled often between Indianapolis, New York City, New Orleans and Philadelphia. While in New Orleans, he painted many portraits and scenic vistas of the historic French Quarter. This painting of "The Prima Donna" appears to capture a performance at the French Opera house of an opera singer on stage with her pianist.
557. Anna Louise Thorne (American, b. 1866), "Blue Eyes", oil on canvas, signed lower right, artist label with title and address of "618 Dumaine Street, New Orleans" en verso, 27 in. x 35 in., in a period frame. [$6000/9000]
Note: The American impressionist painter, Anna Louise Thorne studied at the Art Institute of Chicago, Art Students League with William Merritt Chase and in Paris. Primarily a resident of Toledo, Ohio, Thorne traveled extensively. In 1898 she was a visiting artist at the Spokane Art League School. In 1937 she opened a studio as part of the art colony in St. Augustine, Florida and she belonged to the Detroit Women Painters and Sculptors.
While living in the French Quarter on Dumaine Street, Thorne painted this wonderful portrait of a black woman wearing a tignon and with her young blue-eyed son on her lap. A basket filled with oranges lay on the floor. In each hand the boy holds an orange, perhaps an attempt by the artist to keep the youngster preoccupied during the painting of their portrait.
Ref: Robert Torchia, "Lost Colony: The Artists of St. Augstine, 1930-1950" and Peter Falk, ed., Who was Who in American Art, 1999, p. 3294.
558. 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. [$1000/1500]
559. Harold Harrington Betts (American, b. 1881), "Spanish Bayou", oil on canvas, signed lower right, 37 in. x 39 in., in a period frame. [$2000/3000]
560. William Woodward (American/New Orleans, 1859-1939), "Lotus Fountain, Newcomb Chapel", oil on canvasboard, signed and dated "08" lower left, sight 19 in. x 15 1/4 in. [$25000/35000]
Provenance: Estate of Katherine Caffery, New Orleans.
560. William Woodward (American/New Orleans, 1859-1939), "Lotus Fountain, Newcomb Chapel", oil on canvasboard, signed and dated "08" lower left, sight 19 in. x 15 1/4 in. [$25000/35000]
Provenance: Estate of Katherine Caffery, New Orleans.
561. Ellsworth Woodward (American/New Orleans, 1861-1939), "Newcomb Chapel", oil on board, signed lower left, 15 1/2 in. x 11 1/2 in. [$10000/15000]
Provenance: Estate of Katherine Caffery, New Orleans.
562. A Newcomb College Art Pottery Tyg, 1909, decorated by Sadie Irvine, each panel modeled with grape vines and clusters, the phrase "Till Love and Life are One Live and Love" is sculpted around the base, high glaze with blue and green underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, registration number DC81, and "W" for white clay body, height 4 3/4 in., width 6 in. [$3000/5000]
563. A Newcomb College Art Pottery Vase, 1921, unusual inverted pear-shaped body, decorated by Anna Frances Simpson around the neck with a banded landscape of moss-laden live oak trees, matte glaze with blue and green underglaze, base marked with Newcomb cipher, Joseph Meyer's potter's mark, decorator's mark, registration number LS41, and shape number 243, height 5 1/4 in. [$2500/4000]
564. A Newcomb College Art Pottery Vase, 1897, by Elizabeth Goelet Rogers, bulbous tapering body with green slip drip glaze over a brown clay body, base marked with impressed Newcomb cipher, signed and dated in ink, and "F" in sgraffito, height 7 5/8 in., diameter 9 in. [$6000/9000]
Provenance: This early and rare experimental piece has descended in the family of the decorator.
565. A Newcomb College Art Pottery Vase, c. 1900, incised and modeled with tulips, high glaze with blue and green underglaze on a cream ground, decorated by Harriet Joor, base marked with Newcomb cipher and Joor's decorator mark, height 8 1/4 in. [$12000/18000]
Provenance: Given by Harriet Joor to the grandmother of the present owner as a wedding present.
566. A Newcomb College Art Pottery Vase, 1915, decorated by Anna Frances Simpson, bulbous body modeled around the neck with cabbage roses, matte glaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, and registration number HK60, height 4 1/2 in., diameter 5 in. [$2000/3000]
567. A Newcomb College Art Pottery Vase, 1924, decorated by Sadie Irvine, tapered body, the rim modeled with stems continuing to three groupings of flowers and foliage, matte glaze with pink, blue and yellow underglaze, base marked with Newcomb cipher, decorator's mark, shape number 18, and registration number NR79, height 5 in. [$1000/1500]
568. Newcomb School, early 20th c., "The Garden Gate", watercolor over pencil on paper, signed "Viola Maggie Mott" lower right, sight 10 1/2 in. x 12 in. [$150/250]
569. A Newcomb College Art Pottery Pitcher, c. 1900, decorated by Elizabeth Rogers, finely painted with tulips and banding, high glaze with blue, green and yellow underglaze, base marked with impressed "Newcomb College", decorator's mark, Joseph Meyer's potter's mark, triangular date mark, and "Q" for buff clay body, height 7 1/2 in., width 5 1/2 in. [$5000/7000]
Provenance: Descended in the family of the decorator.
570. Knute Heldner (American/New Orleans, 1877-1952), "Shrimp Boats", oil on canvas, signed lower left, 23 1/2 in. x 29 1/2 in. [$5000/7000]
Provenance: Succession of Raymond H. Weill.

571. A Newcomb College Art Pottery Bowl, 1922, decorated by Sadie Irvine, low open septagonal form with each point modeled with a spiderwort blossom and vertical leaf, the reserve modeled and glazed with a floral roundel, matte glaze with blue, green, pink and yellow underglaze, base marked with Newcomb cipher, decorator's mark, registration number MV 52, and shape number 105, height 3 in., diameter 8 1/2 in. [$2000/3000]
Provenance: Descended in the family of the Newcomb Pottery decorator Elizabeth Rogers (1871-1933).
572. A Newcomb College Art Pottery Vase, c. 1910-15, potted and decorated by Joseph Meyer, of tapering form, matte glaze with experimental blue and green underglaze, base marked with Newcomb cipher, potter's mark, and "194" in sgraffito, height 8 1/4 in. [$600/900]
Provenance: Descended in the family of the Newcomb Pottery decorator Elizabeth Rogers (1871-1933).
573. Weeks Hall (American/Louisiana, 1895-1958), "Night Float, Mardi Gras", oil on board, signed, dated "June 1941" and inscribed "For Adalene Wellborn Bruhl" en verso, exhibition label from the Delgado Museum of Art (today New Orleans Museum of Art) Non-Jury Exhibition en verso, "Weeks Hall, New Iberia, Louisiana" stamp en verso, 12 in. x 25 in., in a period frame. [$20000/30000]
Note: William Weeks Hall was the only child of Lily Weeks and Gilbert Lewis Hall, the third generation owners of the Shadows-on-the-Teche in New Iberia (today the only National Trust property in Louisiana). Although he never graduated from high school, Hall's artistic abilities were recognized when he earned scholarships to study at the Pennsylvania Academy of Fine Arts. Hall had a deep appreciation for the Shadows and restored the home and garden under the guidance of New Orleans architect Richard Koch. Noted for his captivating personality and determined to draw national attention to his home, Weeks entertained prominent artists, writers and filmmakers of the day including Henry Miller, Lyle Saxon, Cecil B. DeMille, Anais Nin, D.W. Griffith and Walt Disney.
Weeks Hall, in this wonderful painting "Night Riders", captured a chaotic New Orleans Mardi Gras night parade. Hall paints from the viewpoint of the crowd peering up at the parade with the masked lieutenants on horseback, float and tops of the flambeaux pass by. The painting is inscribed as a gift from the artist to Adalene Wellborn Bruhl, curator of the Museum of Fine Arts of Houston from 1937 to 1942. Hall received favorable acclaim for the 1928 exhibition of his paintings at the Delgado Museum of Art (today New Orleans Museum of Art). Sadly, a car accident abruptly ended Hall's artistic career, resulting in the rarity of his paintings.
Ref: Glenn Conrad, ed., A Dictionary of Louisiana Biography, Louisiana Historical Association, 1988, p. 374.
574. Dean Cornwell (American, 1892-1960), "Stevedores", oil on board, signed and dated "1920" and inscribed "To Irwin S. Cobb" lower left, 30 in. x 29 in. [$4000/6000]
Note: Born in Louisville, Kentucky, Dean Cornwell was one of America's foremost illustrators. While already working as a cartoonist and illustrator, Cornwell studied at the Art Institute of Chicago and Art Students League. Believing that illustrations have their basis in painting, he initially did many of his illustrations as paintings. This painting depicts a steamboat billowing smoke as it docks with stevedores ready to unload the cargo. With the use of a largely black and white palette and the style of the composition, it can be assumed that this painting was used as an illustration.
575. Maurice Fromkes (Polish/American, 1872-1931, active New Orleans 1916-17), "Young Girl with Doll", oil on canvas, signed and dated "'17" upper left, 24 in. x 18 in. [$3000/5000]
576. George David Coulon (French/New Orleans, 1822-1905), "Rocky Landscape", unsigned, 9 1/2 in. x 12 1/2 in. [$1000/1500]
Provenance: Collection of William Groves, New Orleans.
577. Paul Ninas (American/New Orleans 1903-1964), "New Orleans Dock", pencil on paper, signed lower right, titled on label en verso, sight 11 in. x 17 in. [$2500/4000]
578. 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. [$10000/15000]
Note: Likely many Midwestern artists, Robert W. Grafton made winter painting trips to New Orleans from 1915 to 1928. Already a recognized artist, Grafton had exhibited at the Art Institute of Chicago, Richmond Art Association, Hoosier Salon and Thurber Gallery of Chicago. While in New Orleans, he became actively involved in the local art community developing in the French Quarter. He belonged to the Art Association of New Orleans, was a charter member of the Arts and Crafts Club and received the commission, along with fellow Midwesterner Louis Oscar Griffith, to paint two murals in the St. Charles Hotel.
Ref: Randolph Delehanty, Art in the American South: Works from the Ogden Collection, Louisiana State University Press: Baton Rouge, 1996, p. 165
579. Bror Anders Wikstrom (Swedish/New Orleans, 1854-1909), "Sailing Ship on Lake Pontchartrain", oil on canvas, signed and dated "1885" lower right, 21 1/2 in. x 29 3/4 in., in a period frame. [$5000/7000]
Provenance: Estate of Henry P. Dart, New Orleans.
580. John McCrady (American, 1911-1968), "Metamorphosis", multi-stage on masonite, signed lower right, artist label en verso, 22 1/4 in. x 28 in., in a period frame. [$30000/50000]
Provenance: Estate of John McCrady. Exhibited in "Mr. McCrady of La-Fay-Ette County" at University of Mississippi Art Gallery, Oxford, 1986, no. 29.
Note: Throughout his career as an artist, John McCrady continually found inspiration in the quaint rural Mississippi town of Oxford and the surrounding countryside of Lafayette County. In 1928, McCrady's family had moved to Oxford, where his father became Dean of the Philosophy Department at University of Mississippi and Rector of St. Peter's Church. Two years later, McCrady also attended the university.
In this intriguing painting, "Metamorphosis," McCrady painted a busy day on the Courthouse Square in Oxford during the 1960s. The preliminary drawing,"Study for Metamorphosis," shows McCrady's initial concepts and ideas for the painting. In the painting, a white woman and an African-American woman walk side by side on the sidewalk in front of J.E. Neilson's Department Store. Whether the two women's hands are clasped together remains ambiguous. The ethnic identity of the women in the drawing was not clearly revealed. Perhaps the title of the painting "Metamorphosis," alludes to the Civil Rights Movement and how it affected the small rural community of Oxford, that McCrady painted often and knew so well.
581. John McCrady (American, 1911-1968), "Study for Metamorphosis", carbon acrylic on paper, signed lower right, 16 1/4 in. x 20 3/4 in., unframed. [$4000/6000]
582. John McCrady (American/New Orleans, 1911-1968), "Art Gallery", pencil on paper, initialed lower right, sight 9 in. x 8 3/4 in. [$2000/3000]
Note: After a busy exhibition season during 1945 and 1946, including a group show at the Brooks Memorial Art Gallery in Memphis and an important one-man-show at the Associated Artists Gallery in New York City, John McCrady's artwork reflected his experiences. In the painting, "An Original Oil Painting," and this drawing "Art Gallery", McCrady amusingly shows the patrons of a gallery as they examine, pontificate and interact with the artwork.
Provenance: Previously in Estate of John McCrady.
583. Clarence Millet, A.N.A. (American/New Orleans, 1897-1959), "Plantation Home-Moonlight", oil on canvas, signed lower left, signed and titled en verso, 22 in. x 26 in., in a period frame. [$15000/25000]
584. Isabel M. Cohen (American/Charleston, 1867-1945), "Still Life of Chrysanthemums", oil on canvas, signed lower right, 38 3/4 in. x 26 in., signed and titled on old label en verso, in a period giltwood frame. [$800/1200]
585. Alexander John Drysdale (American/New Orleans, 1870-1934), "Louisiana Bayou in Autumn Colors", oil wash on board, signed lower left, 15 in. x 40 in., in a period frame. [$2500/3500]
586. Alexander John Drysdale (American/New Orleans, 1870-1934), "Louisiana Bayou", oil wash on board, signed lower left, sight 18 1/2 in. x 27 1/2 in. [$5000/7000]
587. Will Ousley (American/Louisiana, 1866-1953), "Calcasieu River, Louisiana", oil on canvas, signed lower right, 16 1/2 in. x 28 in. [$1500/2000]

588. Ellsworth Woodward (American/New Orleans, 1861-1939), "Sketch Book of Assorted Images of Military Soldiers, Encampment and Headquarters, and Houses and Landscapes of Probably Rhode Island", pencil drawings and watercolors, some initialed "E.W." and dated "July, August or September of 1885". [$2000/3000]
589. Henry Casselli (American/New Orleans, b. 1946), "Front-Ebony : Portrait of Civil War Soldier", drawing on tan paper, signed lower right, titled and dated "1976" en verso, 11 7/8 in. x 9 in., framed by the artist. [$1200/1800]
Provenance: Purchased from the artist.
Note: Inspired by his service as a combat artist for the United States Marine Corps during the Vietnam War, Henry Casselli created a series of drawings of Civil War Soldiers. This portrait was based on a vintage daguerreotype of a soldier.
590. William R. Steene (American/Mississippi, 1888-1965), "Seascape", oil on canvasboard, signed lower right, 16 in. x 20 in., in a period giltwood frame. [$800/1200]
591. Morris Henry Hobbs (American/New Orleans, 1892-1967), "Alterations and Additions to the St. Charles Ave. Baptist Church, St. Charles Ave., & Audubon St., New Orleans, Louisiana, designed by Mathes, Bergman & Associates, Architects", pencil drawing, signed lower right, titled lower left, sight 31 in. x 57 1/4 in., attractively matted and framed. [$4200/4800]
591A. Ellsworth Woodward (American/New Orleans, 1861-1939), "Rue Dumaine", etching, pencil-signed and titled, image 8 in. x 9 3/4 in., sheet 11 in. x 14 3/4 in. [$800/1200]
Provenance: Descended in the family of the artist.
591B. Ellsworth Woodward (American/New Orleans, 1861-1939), "Elemental Conflict-Grand Isle", etching, second state, pencil-signed and titled, image 6 3/4 in. x 11 in., sheet 11 1/8 in. x 15 in. [$700/1000]
Provenance: Descended in the family of the artist.
592. [New Orleans], "Andrew Jackson Sculpture, Jackson Square, French Quarter", carte-de-visite, 4 in. x 2 1/2 in. [$150/250]
592A. Morris Henry Hobbs (American/New Orleans, 1892-1967), "Architectural Drawing of a New Orleans Church, designed by Favrot, Reed, Mathes & Berman, Architects", pencil drawing, signed lower right, sight 15 in. x 7 3/4 in., attractively matted and framed. [$1200/1800]
593. Morris Henry Hobbs (American/New Orleans, 1892-1967), "Additions to Sellers Baptist Baby Home, 2010 Peniston St., New Orleans, La., designed by Mathes, Bergman & Associates, Architects", pencil drawing, signed lower right, titled lower left, 10 1/2 in. x 17 1/4 in., attractively matted and framed. [$1000/1500]
594. 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. [$2500/3500]
595. Charles Wilmovsky (American, 1885-1974), "Tree Lined Path: Southern Landscape", oil on canvas, signed lower left, 16 in. x 20 in. [$1500/2500]
596. Morris Henry Hobbs (American/New Orleans, 1892-1967), "Presbyterian U.S. Church of the Covenant, St. Charles Ave. & Napoleon, New Orleans, designed by Favrot, Reed, Mathes & Bergman, Architects", pencil drawing, signed lower right, titled lower left, sight 12 in. x 17 1/4 in., attractively matted and framed. [$1200/1800]
597. Noel Rockmore (American/New Orleans, 1928-1995), "Dizzy Gillespie", oil on canvas, signed, titled and dated "'62" lower left, 12 in. x 12 in., in a period frame. [$3000/5000]
598. Noel Rockmore (American/New Orleans, 1928-1995), "Odetta", oil on canvas, signed, titled and dated "March 17, 63" upper left, E. L. Borenstein catalogue sheet en verso, title label en verso, 52 in. x 36 in. [$6000/9000]
Provenance: Estate of Larry Borenstein, New Orleans.
Note: Nationally renowned blues and folk music singer, Odetta was born in Birmingham, Alabama on December 31, 1930. Raised in Los Angeles, Odetta was studying for a career as an opera singer, when a visit to a San Francisco coffee house awakened her interest in folk music. Her accomplishments include recording twenty-seven albums, acting in films and television, the Presidential Medal of Arts in 1999 and a Grammy nomination in 2000. According to the inscription on the painting, Noel Rockmore painted Odetta in New Orleans on March 17th, 1963. It was during this time Odetta, a political activist, had participated in the Civil Rights march on Selma and sang at the march on Washington D.C.
599. Noel Rockmore (American/New Orleans, 1928-1995), "Bill Russell and Pretty Baby", oil on canvas, signed and dated "66" lower left, titled upper left, E.L. Borenstein catalogue sheet en verso, 40 in. x 30 in. [$3000/5000]
Provenance: Estate of Larry Borenstein, New Orleans.
Note: Legendary New Orleans jazz historian Bill Russell (1905-1992) was classically trained as a violinist and worked as an avant-garde composer. In 1929, Russell became fascinated with jazz music and immersed himself in the New Orleans community of jazz musicians. Russell co-wrote the landmark book Jazzmen and then went on to found the independent recording company American Music. In the 1940s and early 1950s, American Music produced recordings by famed jazz musicians including Bunk Johnson, George Lewis, Wooden Joe Nicolas, Louis Delisle and Baby Dodds. A fellow jazz enthusiast, Noel Rockmore painted the aging Russell with his beloved pet parakeet "Pretty Baby" on his shoulder.
599A. Angela Gregory (American/New Orleans, 1903-1990, active Newcomb College 1921-25, 1935-42), "Wall Mask, No. 2", glazed terracotta, signed and inscribed en verso, 7 in (height) x 6 in (wide) x 4 in (depth). [$2000/3000]


600. Clementine Hunter (American/Louisiana, 1887-1988), "Birthday Party", oil on canvasboard, monogrammed lower right, 16 in. x 20 in. [$3000/4000]

 

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