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Information below is the lot/description information from our Louisiana Purchase Auction, November 22, 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.

You are at > Lots 601-700

 

 

601. An American Classical Mahogany Washstand, early 19th c., reeded gallery with shelf, marble top, case with drawer over cupboard doors, turned feet, height 33 in., width 25 7/8 in., depth 22 in. $1200/1800

602. An American Federal Mahogany Bowfront Chest of Drawers, early 19th c., Massachusetts, case fitted with four graduated drawers, turned reeded legs, height 39 1/2 in., width 42 in., depth 23 1/2 in. $1500/2000

603. An American Late Classical Mahogany Center Table, mid-19th c., attributed to John & Joseph W. Meeks, New York, dodecagonal Egyptian marble top over conforming molded frieze, incurvate standard with round arches and engaged columns, plinth base, scrolled feet, casters, height 29 3/4 in., diameter 37 in. $6000/8000
Note: The lot offered here is identical in form, decoration, and proportions to a Late Classical mahogany center table labeled by the New York City cabinetmaking firm of John and Joseph W. Meeks, sold in these rooms on September 14, 2013. The printed paper label on the latter table bears the addresses of the company's wareroom and manufactory at 43 & 45 Broad Street in New York City and at 23 Chartres Street in New Orleans. In 1821, Joseph W. Meeks, founder of the firm, opened a warehouse in New Orleans. New Orleans city directories list the Meeks branch at 29 Chartres Street in 1830, 29 Chartres Street and 39 Royal Street in 1834, and 23 Chartres Street in 1838.
While center tables in a variety of designs are illustrated in the famous Meeks broadside of 1833, none exhibit the bold architectural quality of the currently offered table, distinguished by the complexly molded frieze and substantial concave-sided standard with round arches springing from engaged columns. A nearly identical table with an octagonal top, bearing the stamp of J. and J.W. Meeks, sold in these rooms on September 15, 2012. The collection of the New York State Museum in Albany includes a very similar center table with a Meeks paper label bearing the addresses of No. 14 Vesey Street, New York, and 23 Chartres Street, New Orleans. This table exhibits the same base and standard as the lot in the current sale, but differs from the latter center table in the plain, unmolded frieze and round top.
References: Scherer, John L. New York Furniture at the New York State Museum, p. 75, fig. 74.; Dubrow, Eileen and Richard. American Furniture of the 19th Century, 1840-1880, pp. 44-45.

604. An American Rococo Carved Rosewood Reclining Armchair, mid-19th c., Philadelphia, scrolled-pediment crest centering acanthus finial and rocaille framed by C-scrolls, rectangular padded back, padded arms ending in female term figures, shaped front seat rail with C-scrolls centering rocaille, cabochon cabriole legs terminating in claw and ball feet, bearing paper label of G.F. Werner's Fine Furniture and Antique Shop, 250 South 22nd Street, Philadelphia, PA. $1500/2500
Note: The eccentric combination of Rococo motifs and the style of carving exhibited by this innovative reclining chair relate it to the work of the Philadelphia cabinetmaking firm of Klauder, Deginther & Co. Founded about 1845 by Michael Deginther, a cabinetmaker, and David Klauder, an upholsterer, the company was renowned for its robustly proportioned and elaborately carved revival-style furniture produced for an elite clientele, including James Joseph Skerrett and Jane Caroline Armatt Skerrett of Loudoun, Germantown, Philadelphia. In manner of execution, the female term figures at the ends of the arms on the present lot relate to the male term figures surmounting the legs of a Rococo Revival carved rosewood center table attributed to Klauder & Deginther, now part of the collections of the Philadelphia Museum of Art, Philadelphia, PA.

605. Currier & Ives/ Publishers, "American Country Life. May Morning", 1855, New York, hand-colored lithograph, after Francis F. Palmer (American, 1812-1876), sheet 22 in. x 28 1/8 in., attractively framed. $1500/2500

606. An American Coin Silver Water Pitcher, Ball, Tompkins & Black, New York, wc. 1839-1851; lobed pear shape with floral and scroll repoussé, monogrammed cartouche, reticulated scroll feet, height 12 1/2 in., weight 29.80 troy ozs. $1200/1800

607. A Good Baltimore Sterling Silver Repoussé Coffee and Tea Service, Jacobi and Jenkins, wc. 1894-1908; all over floral repoussé with beaded borders and urn-form finials, coffee pot, height 7 1/4 in., combined weight 84.10 troy ozs. $3500/4500

608. Twelve Schofield "Baltimore Rose" Pattern Sterling Silver Dinner Plates, Schofield Co., Baltimore, founded 1903, acquired by the Stieff Co., 1967; each with floral repoussé border on stippled ground, diameter 10 1/2 in., weight 233.70 troy ozs. $12000/18000

609. An American Sterling Silver Centerpiece Bowl, late 19th/early 20th c., everted reticulated rim with laurel garlands and floral bouquets, height 3 1/4 in., diameter 14 1/2 in., weight 27.30 troy ozs. $1000/1500

610. A George V Sterling Silver Epergne, Cooper Brothers & Sons, Sheffield, 1924, mark registered 1900; central trumpet vase with reticulated border, 3 scroll arms with removable trumpet vases, also with reticulated borders, molded foot; height 13 in., weight 41.05 troy ozs. $1500/2500

611. A Monumental Regency-Style Silverplate Meat Dish and Domed Cover, segmented oval body with paired cartouches surrounded by floral repoussé decoration with removable floral decorated handle, meat dish of well and tree design with hot water compartment. $1200/1800

612. A Pair of French Egyptian Revival Gilt Two-Light Candelabra, 19th c., Egyptianesque female figures with removable candlearms, central torch finial, convertible to candlesticks, height 18 1/4 in., width 8 1/4 in., depth 5 in. $1000/1500

613. A Fine American Neo-Grec Carved and Gilt-Incised Rosewood, Walnut and Marquetry Guéridon, c. 1865-1875, New York, molded top decorated with musical trophy within a six-pointed star and palmettes enclosed by Vitruvian scroll border, conforming frieze above fluted standard centered by three shaped supports, saber legs, hoof feet, height 30 1/2 in., diameter 29 in. $2500/3500

614. An American Aesthetic Ebonized and Gilt Incised Artist's Easel, late 19th c., Ripka & Co., Philadelphia, labeled, pivoting and swiveling frame with decoration of fluting, scrolling tendrils, stylized flowers and sunbursts, hexagonal standard rising from trefoil pierced shaped legs, with brass label bearing patent date of July 9, 1878, height 73 1/4 in., width 26 in., depth 26 in. $1500/2500
Note: On July 9, 1878, John C. Ripka, who specialized in artists' materials and picture frames, was granted a patent for "a new and useful Improvement in Artists Easels and Drawing Boards". The invention consisted of an easel connected to a stand by both hinges and slotted segments, enabling the easel to be adjusted at various angles. Ripka's business was located at 146 South Eighth Street, Philadelphia.

615. An American Aesthetic Brass Stand, late 19th c., Charles Parker Company, Meriden, CT, labeled, rectangular velvet-lined top on rope-twist legs centering velvet-lined stretcher shelf, height 29 1/2 in., width 19 in., depth 13 in. $1000/1500
Note: The Charles Parker Company was one of the leading American manufacturers in the late nineteenth century of artistic brass household furnishings in the Aesthetic Movement style. Founded in Meriden, Connecticut, in 1832, the company initially produced coffee mills and waffle irons. Production expanded to include plated flatware and hollowware in the mid-19th century. By the 1880s, the firm was producing luxury "art brass" wares in addition to utilitarian goods.
Reference: D'Ambrosio, Anna Tobin. A Brass Menagerie: Metalwork of the Aesthetic Movement, pp. 42-48.

616. A Fine American Aesthetic Carved Maple and Marquetry Lounge, late 19th c., possibly Louis Comfort Tiffany/ Associated Artists, New York, outscrolled and padded end with sunflower carved support, rectangular padded back, front seat rail with stylized flowers and leaves, square legs, abstracted paw feet, casters, height 32 in., width 72 3/4 in., depth 28 1/2 in. Note: Front casters marked "TO LER". $2500/3500

617. An Interesting American Aesthetic Paint-Decorated, Brass and Mother-of-Pearl Inlaid Satinwood Side Table, late 19th c., possibly Herts Brothers, New York, oval molded top above conforming frieze fitted with drawer decorated with ribbon-tied festoons of flowers, square tapering legs with scrolled brackets, casters, height 29 3/4 in., width 36 1/4 in., depth 28 3/8 in. $1000/1500

618. An American Eastlake Part Ebonized and Gilt Incised Walnut Pedestal, late 19th c., square marble inset top over conforming standard with raised panels featuring American flags, plinth base, with pencil inscription inside base "Order of Red Men/ House, PA", height 33 1/2 in., width 15 1/2 in., depth 15 1/2 in. $700/900
Note: The Order of Red Men originates from pre-Revolutionary secret patriotic societies, including the Sons of Liberty and Sons of Tammany.

619. A Victorian Carved Oak and Walnut Library Table, 19th c., molded edge top, frieze with diaperwork and rosette blocks, trestle base with pierced lyre supports, conforming stretcher, scrolled feet, height 31 in., width 43 in., depth 22 1/2 in. $1000/1500

620. An Antique Italian Neoclassical Carved, Crème Peinte and Parcel Gilt Console Table and Mirror, mirror with paneled frieze of beribboned garlands, molded surround; console with inset marble top, molded frieze centered by Greek key panel, foliate garlands, tapered fluted legs entwined with foliate vines, mirror height 89 1/2 in., width 62 in.; console height 34 in., width 63 in., depth 32 in. $12000/18000

621. A French Provincial Carved Walnut Commode, mid-18th c., molded top, three drawers, canted stiles, paneled sides, shaped feet, height 34 1/2 in., width 45 1/4 in., depth 23 1/2 in. $2000/3000

622. A Pair of Louis XV Provincial Carved Fruitwood Fauteuils, 18th c., each with shaped crest rail centering a rosette, padded molded arms, serpentine seat rail, cabriole legs. $4000/6000

623. A Pair of Continental Neoclassical-Style Carved, Ebonized, Parcel-Gilt and Figured Veneer Jardinières on Stands, acanthus scroll supports, incurvate plinth base, disc feet, height 41 in., diameter 26 in. $3000/5000

624. A Fine Italian Carved Walnut Refectory Table, late 17th/early 18th c., plank top, two drawer frieze, baluster legs, stretcher base, height 31 in., width 67 1/2 in., depth 25 in. $3000/5000

625. An Italian Grand Tour Siena Marble Model of the Temple of Vespasian, 19th c., height 26 in., width 11 in., depth 4 1/2 in. $4000/6000

626. An Italian Carved Marble Urn, 19th c., foliate rim, ram's head and putto masques above figural frieze of Bacchanal procession, waisted pedestal base with garlands, height 29 1/2 in., diameter 23 in. $4000/6000

627. Jozef Israëls (Dutch, 1824-1911), "Gathering Shellfish", 1874, oil on canvas, signed and dated lower right, 14 7/8 in. x 21 3/4 in., elaborately carved period giltwood frame. $7000/10000
Provenance: Estate of Harry T. Howard III, New Orleans, LA.

628. E. Blair Leighton (British, 1852-1922), "Peleus and Melisander", oil on board, initialed "E.B.L./E.B.T." lower left, titled on frame, sight 7 1/2 in. x 6 3/8 in., glazed in a gilt shadowbox frame. $8000/12000

629. A Large French Patinated Bronze Figural Group, late 19th/early 20th c., after Étienne-Alexandre Stella (French, d. 1872), modeled as "Summer" holding a sickle, accompanied by a putto holding a wheat sheath, cast signature, height 37 in., width 17 in., depth 16 in., presented on a rouge marble base, overall height 42 3/8 in. $8000/12000

630. Albert Ernest Carrier-Belleuse (French, 1824-1887), "Liseuse", ivory and gilt bronze, signed on self-base with an applied plaque inscribed with title and Salon award "Liseuse/Par Carrier-Belleuse/Grand Prix du Salon", height 24 in., width 7 in. $4000/6000
Provenance: Acquired England, c. 1956.

631. An Italian Renaissance-Style Carved Walnut Cabinet on Stand, comprised of antique components, molded cornice over fall front flanked by doors with cartouches amid scrolling acanthus leaves, tapered pilasters, stand with stop-fluted frieze, console-form supports, plinth base, height 60 in., width 68 1/2 in., depth 20 in. $3500/5000

632. A Very Fine Italian Neoclassical Crème Peinte and Parcel-Gilt Console Table, late 18th/early 19th c., rectangular faux marbre top, paneled frieze centering mask, rosette blocks, square tapering legs, height 35 1/2 in., width 51 1/2 in., depth 25 1/2 in. $3000/5000

633. A Spanish Colonial Olive Jar Cupboard, 19th c., paneled double doors with scalloped crest, sides and base, fitted interior with pottery jars, retains original red paint, height 38 in., width 46 1/2 in., depth 18 in. $1500/2500

634. A Pair of Venetian Carved and Polychrome Blackamoor Figures, probably early 20th c., each with outstretched arms, mounted on a faux marbre pedestal, overall height 71 1/2 in., width 22 in., depth 13 1/2 in. $2000/3000

635. A Pair of Louis XVI-Style Gilt-Bronze Guéridons, each with inset marble top, paired bamboo form supports, incurvate plinth centering circular tier, disc feet, height 27 in., diameter 20 1/2 in. $3000/5000

636. An Austrian Carved Pine Figural Table, 19th c., trompe-l'oeil top in the form of a table cover, crouching blackamoor support, rockwork base, height 36 in., width 31 in., depth 23 in. $4000/6000

637. A Regency Carved Mahogany Armchair, early 19th c., after a design by George Smith, scrolled paneled crest rail with acanthus leaves, scrolls and palmettes, padded barrel back, downswept reeded stiles, reeded arms over shaped supports with volutes, saber legs, casters. $2000/3000

638. A Regency Carved Mahogany and Cane Bergère, early 19th c., scrolled paneled crest, curved reeded back continuing into reeded arms, reeded front seat rail, reeded saber legs surmounted by blocks with bosses, casters. $1000/1500

639. An Edwardian Paint-Decorated Satinwood Pembroke Table in the Adam Taste, late 19th/early 20th c., oval top, demilune drop leaves with garland band and reserves of musical trophies, frieze drawer, square tapered legs, brass cup casters, height 29 in., width 30 in., depth 21 in., extended width 30 in. $2000/4000

640. A Fine English Part Ebonized and Inlaid Mahogany and Burl Yewwood Games Table, mid-19th c., probably Gillows, rectangular top with slide opening to reveal tooled gilt leather backgammon surface, paneled frieze fitted with side drawer; round tapering reeded legs, height 27 5/8 in., width 30 in., depth 20 in. $2500/3500

641. A Louis XV-Style Gilt-Bronze Mounted Kingwood and Purplewood Bureau Plat, 19th c., inset tooled leather top, bronze molded edge, three frieze drawers, opposing faux drawers, cabriole legs, sabots, height 30 1/2 in., width 70 in., depth 38 in. $8000/12000

642. An Antique Italian Neoclassical-Style Rosewood and Marquetry Commode, demilune top decorated with fruit filled compote, conforming case centering door with musical trophy over a drawer, flanking doors with flower filled urns, square tapering legs, height 37 in., width 35 1/2 in., depth 15 1/2 in. $1500/2500

643. A Fine Neoclassical Gilt-Bronze, Rouge Marble and Blue Enamel Occasional Table, late 19th c., possibly Paris or St. Petersburg, pierced frieze of entwined oak and laurel leaves interspersed with mask blocks, serpentine stretcher, hoof feet, height 28 in., width 20 1/2 in., depth 14 in. $2500/3500
Note: The striking blue enamel and bronze gilt supports on this table are perhaps influenced by Beaux-Arts jewelers, particularly Carl Fabergé.

644. Benjamin Williams Leader (English, 1831-1923), "Worcestershire Cottage Homes, Evening", 1886, oil on canvas, signed and dated lower left, titled en verso, 30 1/4 in. x 48 in., giltwood frame. $30000/50000
Provenance: Christie's, New York, April 19, 2005, lot 81.

645. Rowland Hilder (English, 1905-1993), "Devil's Bridge, Kirby Lonsdale", oil on canvas, signed lower right, titled en verso, 24 in. x 36 in., framed. $3000/5000

646. Ernest Arthur Rowe (British, 1863-1922), "View of House and Gardens at Rusthall, Tunbridge Wells, Kent", watercolor on paper, signed lower right, sight 9 1/2 in. x 13 1/2 in., framed. $1000/1500

647. John Abbot (American/Georgia, 1751-1840), "Georgia Pelican", c. 1791-1809, watercolor on paper, inscribed "153" lower center, 11 in. x 8 5/8 in., float mounted to archival mat. $4000/6000

648. John Abbot (American/Georgia, 1751-1840), "Roan Duck", c. 1791-1809, watercolor on paper, inscribed "126" lower center, 11 in. x 8 1/2 in., float mounted to archival mat. $4000/6000

649. A Rare West Indies Carved Cedar Daybed, 19th c., Charles-A. Brown, Port-au-Prince, Haiti, three printed paper labels, scrolled and paneled headboard and footboard, front and back rails with cyma-curve apron, shaped legs terminating in scrolled feet, height 43 in., interior length 72 1/2 in., interior width 47 1/2 in. $4000/6000
Note: The three paper labels each read as follows:
L'Avancement
Grande Fabrique de Meubles, de Cercueils
De Chaises et de Dodines
Se vend chez Charles-A. Brown
Port-au-Prince (Haiti)
This label indicates that Charles-A. Brown probably ran a sizable shop producing coffins, caskets daybeds and rocking chairs among other pieces. The localization of Port-au-Prince, Haiti, probably indicates Brown was exporting to other islands of the West Indies and possibly to the United States.

650. A West Indies Mahogany Extension Campaign Dining Table, 19th c., Martinique, each end with drop leaf, straight frieze, opening to receive leaves, turned legs, casters, cedrella secondary wood, accompanied with two leaves, height 29 1/2 in., extended length 87 in., width 52 1/4 in. $3000/5000

651. An American Classical Mahogany and Maple Work Table, early 19th c., Baltimore, drop-leaf top, two drawers, baluster form standard, saber legs, height 30 in., width 18 in., depth 17 in. $400/600

652. An American Late Classical Mahogany Armchair, c. 1840, scrolled crest rail over padded back, scrolled arms, ogee front seat rail, scrolled feet, underside of chair with script label "This chair father had it made in Alexander 1855 when the other parlor furniture was made. All of that cost $135. All belonged to father - Marthan Henkel". $400/600

653. An American Federal Carved Mahogany Sideboard, early 19th c, rectangular top with turreted corners, case fitted with three drawers over cupboard doors, reeded stiles, turned and reeded legs, height 41 in., width 58 in., depth 22 1/2 in. $2000/3000

654. An Antique William and Mary Japanned Chest-on-Stand, 19th c., chest with molded top, case fitted with three short drawers over two short drawers and two graduated long drawers, each with decoration of chinoiserie landscapes and figures, stand with arched apron, baluster legs, shaped stretcher, bun feet, height 59 1/4 in., width 41 in., depth 20 in. $2500/3500

655. A Set of Six William IV Carved Mahogany Chairs, c. 1835, comprised of two armchairs and four side chairs, each with shaped crest rail, trapezoidal seat, turned and tapered legs. $1200/1800

656. An American Copper Horse Weathervane, late 19th c., full bodied copper construction, presented on an armature, overall height 20 in., width 30 in., depth 1 1/2 in. $1800/2500
Provenance: Lexington, KY.

657. An American Classical Giltwood Overmantel Mirror, early 19th c., New York, deep cove molded frame surround, divided mirror plate, height 28 1/4 in., width 68 in. $1500/2500
Provenance: A Classical home on the Hudson River.

658. An English or Scottish Inlaid Mahogany Tall Case Clock, early 19th c., John Mackie, Ellon, broken arch bonnet, brass finials, reeded Corinthian columns flanking arched door, painted face, spiral carved quarter columns, arched crossbanded door, molded conforming base, height 86 in., width 18 1/2 in., depth 9 1/2 in. $2500/3500

659. A Fine Chinese Export Gilt Decorated Black Lacquer Sewing Table, 19th c., shaped lid opening to well fitted interior, with ivory elements, basket slide below (lacking basket), turned trestle base, dragon head feet, the whole with chinoiserie designs, height 28 3/4 in., width 26 3/8 in., depth 17 7/8 in. $2500/3500
Provenance: By repute, from the home of Captain Shillaber, Salem, MA.

660. A Continental Inlaid Rosewood Center Table, 19th c., wide banded octagonal top, faceted standard, scrolled legs, casters, height 31 in., width 53 in., depth 53 in. $2000/4000

661. A George I Walnut and Burled Walnut Chest of Drawers, 18th c., case fitted with two short over three graduated long feather banded drawers, later bun feet, later brasses, height 34 in., width 38 in., depth 22 in. $1500/2500

662. An English "Whimsical" Carved Mahogany and Bronze Piano Stool, round leather upholstered seat rotating and adjusting over four lady's boot-form legs with leather laces, height 22 in. $800/1200

663. De Ficoroni, Francesco, Le Maschere Sceniche e le Figure Comiche d'Antichi Romani, 1732, Roma, (9 1/2 in. x 6 1/2 in.), half-title with engraved vignette, with 85 engraved plates of Roman masks, one folding, full calf, gilt title, marbled endpapers. $1500/2500

664. A Good American Aesthetic Highly Carved Mahogany Partner's Desk, late 19th c., New York, rectangular top with inset fabric, frieze fitted with a shared long drawer and short drawer to each side, kneehole and shared cupboard below, foliate paneled stiles, vasiform reeded legs, casters, height 31 in., width 57 3/4 in., depth 35 3/4 in. $1000/1500

665. A Neoclassical-Style Gilt-Bronze and Malachite Gueridon, inset top, scrolled frieze with rosette blocks, reeded legs surmounted by urns, inset stretcher shelf, height 29 in., diameter 20 in. $1500/2500

666. Marco Ceri (Italian, 20th c.), "Edwardian Tennis", c. 1990, oil on copper, initialed lower left, 11 1/4 in. x 23 in., framed. $1000/1500

667. Alexander Calder (American, 1898-1976), "Untitled", 1946, lithograph, pencil-signed lower right, "Marais" watermark, sheet 19 1/2 in. x 15 1/2 in., unframed. $4000/5000
Note: For an identical version, see the Museum of Modern Art, New York, acc. 1029.1969.

668. Robert Longo (American, b. 1953), "The Entertainer", screenprint, pencil-signed lower right, inscribed "For Ray" lower left, sheet 30 in. x 20 in., framed; "Red Kiss", 1990, color lithograph, unsigned, sheet 36 1/2 in. x 18 in.; and "Spiral Garden Exhibition", 1986, poster, signed, 23 in. x 33 in., framed. (3 pcs.) $1200/1800

669. Cindy Sherman (American, b. 1954), "Untitled (Mrs. Claus)", 1990, c-print, signed and dated en verso, 13 in. x 10 in. $1200/1800
Provenance: An Estate Collection; thence to present owner.

670. Peter Mars (American, b. 1959, active New Orleans, 1980s), "King Zulu", 1995, silkscreen and mixed media, pencil signed lower right, artist's stamp, title and dated en verso, 14 1/4 in. x 22 in., framed. $1000/1500
Provenance: Arthur Roger Gallery, New Orleans.
Note: In 1982, Peter Mars moved from Portland, Oregon, to New Orleans, where he lived in the French Quarter. While working at the Contemporary Arts Center (CAC), he was introduced to silkscreen printing, which became his favored medium. Mars moved to Chicago where he became an influential American Pop artist, his work reflecting and reinterpreting the popular culture of the 1960s and 1970s.

671. Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997), "Tic Tac Toe", oil on masonite, signed lower right, "Orleans Gallery, New Orleans" and "Ruth White Gallery, New York" labels en verso, 24 in. x 36 in., framed. $8000/12000
Provenance: Ex-Collection Scholar and Economist William Breit (1931-2011), New Orleans and San Antonio.

672. Albert Eugene Gallatin (American, 1882-1952), "Composition", oil on canvas, initialed lower right, titled on gallery inventory label en verso, 23 3/8 in. x 15 1/2 in., original frame. $10000/15000
Note: Albert Eugene Gallatin (1882- 1952), often referred to as the "Park Avenue Cubist," was a pioneering collector and painter of Modern American art. He was a member of the American Abstract Artist Group, and he founded the Gallery of Living Art in 1927—the first modern art museum in the United States. The early success of modern art following the Armory Show (1913), and the subsequent rise of Abstract Expressionism are largely attributed to Gallatin's patronage. Gallatin's own paintings reflect his commitment to modern abstract art; the monochromatic colors and bold geometric shapes in "Composition" offered here draw upon synthetic cubism and notions of the sublime that New York artists popularized, such Ad Reinhardt and Barnett Newman. "Reputedly quiet and self-effacing about his own art, Gallatin considered his painting an activity that enhanced his understanding of the work he collected. Believing that the more separated art was from life, the more it represented aesthetic truth, he avoided descriptive titles for his works, preferring instead to give them the unspecific title "Composition."
References: "Albert E. Gallatin," Dictionary of Art Historians, nd.. Web, 19 Oct. 2013 Debra Bricker Balken & Robert S. Lubar, The Park Avenue Cubists (New York: NYU, Ashgate, 2002). See also Albert Gallatin Biography", American Art at the Phillips Collection, nd.. Web, 19 Oct. 2013, and War Paintings Exhibit: Allied Art Salon to Open at American Galleries Dec. 9", New York Times, 9 Dec. 1918. Web, 19 Oct. 2013.

673. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), "Chrysalis", c. 1969, oil on canvas, signed lower right, 49 1/2 in. x 27 in., period frame. $8000/12000

674. Walter Inglis Anderson (American/Mississippi, 1903-1965), "Amaryllis", watercolor and pencil on paper, estate stamp lower right, 9 3/4 in. x 8 1/2 in., framed. $8000/12000

675. Walter Inglis Anderson (American/Mississippi, 1903-1965), "Loon", watercolor and pencil on paper, unsigned, 8 1/2 in. x 11 in., matted and framed. $8000/12000

676. William Woodward (American/New Orleans, 1859-1939), "Hyams Wading Pool, City Park (New Orleans)", 1921, oil on canvas board, signed and dated "May 24th '21", lower right, titled lower left and center, sight 13 1/4 in. x 19 in., antique frame. $30000/50000
Provenance: Descended in a New Orleans family.
Illustrated: Robert Hinckley, ed. William Woodward, American Impressionist. New Orleans: MPress, 2009, p. 19, pl. 8.
Note: In 1914, New Orleans philanthropist Sara Lavinia Hyams died, bequeathing her jewelry collection to be sold with the proceeds used to construct a fountain and wading pool in Audubon Park and City Park for the children of the city. In 1920-21, two identical fountains and pools were created by the sculptor Isidore Konti (1862-1938) and the Albert Weiblen Marble & Granite Works. The Sara Lavinia Hyams Memorial Fountain in City Park is part of the Carousel Garden while the one in Audubon Park is located on the river side of Magazine Street. Robert Mayfield, the art critic for The Times-Picayune, commented on the life-like qualities of Konti's sculptures in the summer of 1921: "…the many children splashing in the park are so much like the bronze figures that it is almost impossible to distinguish the real from the artificial. They are on such perfect terms of intimacy already that one is almost certain to see some boy or girl with an arm about one of the bronze children or petting the bronze dog quite as though they were all there together in real life enjoying the shade, the cool water and the delightful and picturesque surroundings."
Noted New Orleans artist William Woodward painted this lovely, impressionistic view of the Hyams fountain and wading pool in City Park on May 24, 1921, shortly after the fountain was completed in March of that year. Children frolic and splash in the shallow pool while their parents and charges, in brightly colored dresses, sit on the benches that flank the pool. Woodward is known for his views of the French Quarter, Newcomb College campus and the environs of Uptown New Orleans near his home; sites in City Park are a rare subject matter for him.
Reference: The Sculpture of Isidore Konti (1862-1938), Hudson, NY: Hudson River Museum, 1975, p. 76.

677. Alexander John Drysdale (American/New Orleans, 1870-1934), "A Symphony in Gray Lights from Algiers", oil on canvas board, signed lower left, artist's business card with handwritten title and "Shilg's Antique Store, Baton Rouge" stamp en verso, 7 in. x 9 in., framed. $3000/5000

678. Clarence Millet, A.N.A. (American/New Orleans, 1897-1959), "Chartres Street, New Orleans", oil on canvas, signed lower right, "New Orleans Art League" label and artist's card with title en verso, 20 in. x 26 in., original frame. $15000/25000

679. A Rare Shearwater Pottery Vase, c. 1937-40, thrown by Peter Anderson, decorated by James "Mac" Anderson in low relief with images of Mac building his rammed earth house, antique green glaze, base marked with impressed dime-size Shearwater mark and initialed by Mac in sgraffito, height 7 3/4 in., diameter 6 3/4 in.; accompanied by a c. 1990 letter from Mac Anderson stating the approximate date of the piece and the reason for the design; also accompanied by a Shearwater Pottery Certificate of Authenticity, dated September 13, 2001. $5000/7000
Provenance: Acquired c. 1990 by the present owner.
Exhibited: "An Introspective Mind", The Walter Anderson Museum of Art, Ocean Springs, MS, 2007-2008.
Illustrated: Stewart, Dod., Shearwater Pottery, p. 101.

680. A Shearwater Pottery Vase, c. 1940, decorated by Walter Anderson with incised and slip glazed design of a duck with spread wings, impressed quarter size Shearwater mark, height 5 1/4 in. $1200/1800

681. A Newcomb College Art Pottery Vase, 1921, decorated by Henrietta Davidson Bailey with Cherokee roses modeled in low relief, matte glaze with blue, green, pink and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. LR47, and shape no. 147, h. 6 3/8 in. $3000/5000

682. An Important Newcomb College Art Pottery High Glaze Vase, 1902, decorated by Mary Williams Butler with a pattern of calla lilies in underglaze blue and blue-green, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. U13, and Q for buff clay body, height 11 in., diameter 9 in. $20000/30000
Provenance: Private collection, New Orleans, LA. Descended in the family of the original owner.
Note: This very large and visually striking Newcomb College vase was decorated by Mary Williams Butler (1873-1937). Butler began her career at Newcomb in 1898 and received her Diploma in Art in 1901. Butler worked as a pottery decorator and in the metalwork program at Newcomb. She joined the faculty in 1904 as an Instructor in Drawing and Design, achieving a full professorship in 1934. The vase offered here is a beautiful example of the use of bold line and the skillful juxtaposition of colors close in value to create a symmetrical floral pattern that typifies the Newcomb Pottery created during the early period.
Reference: Poesch, Jessie and Sally Main, Newcomb Pottery & Crafts: An Educational Enterprise for Women 1895-1940, Schiffer Publishing, 2003. Conradsen, David, et. al., The Arts & Crafts of Newcomb Pottery, New York: Skira Rizzoli, 2013.

683. A Newcomb College Art Pottery Matte Glaze Vase, 1918, decorated by Anna Frances Simpson with daffodils in relief, blue, green and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. JU20, and shape no. 102, height 5 1/8 in. $2500/3500

684. A Newcomb College Art Pottery Vase, c. 1931-40, decorated by Aurelia Coralie Arbo in the Moon and Moss motif, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator's mark, and partial reg. no. Z32, height 5 in. $2500/3500

685. A Newcomb College Art Pottery Jardinière, 1910, decorated by Mazie T. Ryan with chrysanthemums in low relief, semi-matte glaze with blue, green and white underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. DW95, and K for white clay body, height 7 3/4 in., diameter 9 1/2 in. $4000/6000

686. A Fine Newcomb College Art Pottery High Glaze Vase, 1902, decorated by Marie de Hoa LeBlanc with a pattern of stylized foliage in underglaze blue, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. O95 and U for buff clay body, height 11 in. $12000/18000

687. A Newcomb College Art Pottery High Glaze Bowl, 1908, decorated by Mary Williams Butler, incised with alamanda blossoms, mustard yellow, blue and green-blue underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. CD39 and "Q" for buff clay body, height 2 3/8 in., diameter 10 1/2 in. $8000/12000

688. A Newcomb College Art Pottery Matte Glaze Vase, 1920, decorated by Sadie Irvine with daffodils in relief, blue, green and yellow underglaze, base marked with Newcomb cipher, Joseph Meyer's potter's mark, reg. no. KS66, and shape no. 176, height 5 1/2 in. $1500/2500

689. A Newcomb College Art Pottery Lamp, c. 1910-20, by Joseph Meyer, with a green shading to blue glaze, marked with potter's mark, with a period light fitting and a wicker and silk shade, overall height 13 1/2 in. $1500/2500

690. A Newcomb College Art Pottery Vase, 1930, decorated by Anna Frances Simpson with a landscape of moss-laden live oak trees, semi-matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator's mark, Jonathan Hunt's potter's mark, reg. no. SE96, and shape no. 8, height 3 1/2 in., diameter 4 1/2 in. $1500/2500

691. A Newcomb College Art Pottery Bowl, 1914, decorated by Anna Frances Simpson with daffodils in relief, semi-matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. GX36, and shape no. 256, height 3 3/8 in., diameter 5 3/4 in. $1500/2500

692. A Newcomb College Art Pottery Vase, 1919, decorated by Henrietta Bailey with daffodils in low relief, semi-matte glaze with pink, yellow and blue underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. KB70, and shape no. 126, height 4 1/4 in. $1000/1500

693. A Newcomb College Art Pottery Vase, 1914, decorator possibly Phene Veters, low relief modeling of buds and foliage, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator's cypher "PV", Joseph Meyer's potter's mark, reg. no. GN89, shape no. 252, and B for buff clay body, height 6 1/4 in. $1200/1800

694. A Group of Newcomb College Objects, including two small vases, each with Newcomb cyphers (heights 3 in. and 2 1/2 in.), 14 bookplates, and 3 issues of The Newcomb Arcade from 1912, 1917. (19 pcs.) $600/900

695. A Newcomb College Art Pottery High Glaze Plate, 1909, decorated by Marie de Hoa LeBlanc with an incised maple wing design, blue, green and mustard yellow underglaze, marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. CU69, and Q for buff clay body, diameter 8 1/4 in. $800/1200

696. An American Art Pottery Pitcher, c. 1890, attributed to the New Orleans Art Pottery Club, unmarked, modeled with flowers, birds and a mask of a bat, dark green glaze, height 6 1/2 in. $600/900

697. A Newcomb College Brass Mailbox, c. 1915, hand wrought brass sheeting with cut out decoration of monogram "G" on a roundel flanked by scrolls, height 11 5/8 in., width 9 1/4 in., depth 2 1/4 in. $1000/1500
Note: Mailboxes of the same form without the monogram are illustrated in Jessie Poesch, Newcomb Pottery and Crafts, fig. 3-6, p. 69, fig. 4-38, p. 168.

698. Ellsworth Woodward (American/New Orleans, 1861-1939), "Rock Ribbed (New England)", c. 1927, oil on canvas, initialed lower left, titled and signed on stretcher, 17 in. x 21 3/4 in., antique frame. $10000/15000
Provenance: Ex-Collection of Dr. James Nelson, Gonzales, LA.
Illustrated: Jean Bragg and Dr. Susan Saward, Painting the Town: The Woodward Brothers Come to New Orleans, New Orleans: Jean Bragg Gallery, 2004, p. 248.
Note: Painted during a visit to the family homestead in Seekonk, MA in 1927, "Rock Ribbed (New England)," is a lovely example of Ellsworth Woodward's mature Impressionist style. In his remarks for a Tulane exhibition catalogue, William Cullison writes: "The influence of Impressionism upon the Woodwards is to be seen in the beautiful effects of light and atmosphere which characterize their work generally, and, in oil paintings, in their exuberant brushwork and vibrant colorism." In this landscape, Woodward employs softly rendered explosive color juxtaposed against the dark stand of pine trees in the background. His title for the work refers to the gray line of rocks which grade the hilly field and provide compositional structure.
Reference: Pennington, Estill Curtis, Downriver: Currents of Style in Louisiana Painting 1800-1950, Gretna: Pelican Pub. Co., 1991.

699. Clarence Millet (American/Louisiana, 1897-1959), "The Village Road", 1932, oil on canvas board, signed lower left, signed, titled and dated en verso, 14 3/4 in. x 17 3/4 in., framed. $7000/9000

700. Alberta Kinsey (American/New Orleans, 1875-1952), "224 Exchange Alley (French Quarter)", oil on canvas affixed to board, signed lower left, "Farish Art Store, New Orleans" label and handwritten title label en verso, 13 1/2 in. x 10 in., period frame. $4000/6000


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