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Information below is the lot/description information from our Winter Estates Auction, January 27th & 28th, 2018. 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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1. Pair of Art Deco Inspired Polychromed and Gilt Tables, attr. Louis Pistono, possibly Italian, glass tops, lotus bases, circular plinths, h. 23 3/4 in., w. 26 in., d. 26 in. $150/250

2. Alexei E. Kazantsev (Russian/New Orleans, b. 1966), "Weeping Torso", Carrara marble, initialed "A.K." lower right, h. 32 in., w. 15 in., d. 8 in. $600/800
Provenance: Carol Robinson Gallery, New Orleans; Koch Collection, Metairie, LA.
Note: Russian-born sculptor Alexei Kazantev immigrated to Hammond, Louisiana in 1993, where he found his patron, Edwin Neill of the Neill Corporation. Kazantev’s overarching theme in his works is the combination of his initial masculine energy and connection to “female energy,” fusing those to opposites to make a whole. This approach is seen in “Weeping Torso,” capturing a dream-like quality of ethereal meditation.
Ref: “Statement.” www.aksculptstudios.com. Accessed July 12, 2017.



3. Constantine Kluge (Russian/Paris, 1912‑2003), "Le Quai Conti", oil on canvas, signed lower right, 26 in. x 32 in., framed. $3000/5000
Provenance: Wally Findlay Galleries International, Paris, 1977.

4. Bernard Buffet (French, 1928‑1999), "Yellow Tulips", color lithograph, signed and inscribed "E.A" lower margin, sight 17 in. x 12 1/2 in., framed. $300/500



5. Fritz Eichenberg (German/American, 1901‑1990), Desiderius Erasmus In Praise of Folly, New York and Baltimore, Aquarius Press, 1972, portfolio of 10 original woodblock prints, each signed and editioned "78/150", with Latin and English text, cloth covered folio, 19 in. x 12 in. $500/700



6. Fritz Eichenberg (German/American, 1901‑1990), Fables with a Twist, Twenty Woodblocks and Twenty Twisted Tales, Peace Dale, RI, Fritz Eichenberg, 1976, portfolio of 20 woodblock prints, each signed, titled and editioned "27/100", also signed on colophon, clamshell box, gilt‑titled leather spine and cover, 16 1/2 in. x 14 in. $500/700

7. Doulton & Co. Polychrome Faience "Indian" Octagonal Pedestal, late 19th c., removable top and side panels in an exotic relief, h. 26 1/2 in., dia. 13 in. $1500/2000
Ref.: Desmond Eyles and Louise Irvine, The Lambeth Doulton Wares, 2002, p. 196.



8. Doulton & Co. Polychrome Faience "Indian" Urn, late 19th c., marked "Doulton Lambeth", modeled in Hispano‑Moresque style with panels of flowers and foliage interspaced with elephant masks, h. 17 1/2 in., w. 20 1/2 in., d. 20 1/2 in. $1500/2000
Ref.: Eyles, Desmond and Louise Irvine. The Lambeth Doulton Wares. London: Barrie & Jenkins, 2002, p. 196.



9. Pair of Chinese Export Famille Rose Porcelain Phoenix Birds, Qing Dynasty (1644‑1911), modeled standing on rockwork molded with peonies, h. 10 1/4 in. $500/700
Provenance: Sallea Antiques, New Canaan, CT, 2010.

10. Pair of Chinese Export Famille Rose Porcelain Phoenix Birds, Qing Dynasty (1644‑1911), modeled standing on rockwork molded with peonies, bases filled, h. 12 1/4 in., stands, overall h. 13 1/4 in. $300/500

11. Large Chinese Export Famille Rose Porcelain Punch Bowl, 18th/early 19th c., decorated with floral and fruit sprays, base with "Henry Stern Antiques / New Orleans" label, h. 6 in., dia. 14 in. Note: Restoration. $400/600



12. Chinese Export Famille Rose Porcelain Charger, 18th c., decorated with a grasshopper amid colorful leaves and peonies, dia. 14 in. $400/600
Provenance: Sallea Antiques, New Canaan, CT, 2010.

13. Antique American Mixed Woods Folio Cabinet, early 20th c., molded top, six drawers, plinth base, h. 27 1/4 in., w. 42 1/2 in., d. 32 1/4 in. $250/350

14. Spanish Colonial/Cuzco School, mid‑17th/19th c., "Archangel Michael Defeating Satan", oil on canvas, unsigned, 23 1/4 in. x 17 in., unframed. $600/800

15. Spanish Colonial School, mid‑17th/19th c., "John the Baptist", oil on canvas, unsigned, 30 3/4 in. x 22 1/2 in., antique frame. $400/600

16. Caroline Wogan Durieux (American/Louisiana, 1896‑1989), "Los Diplomaticos", lithograph on paper, pencil‑signed and titled lower margin, artist label with title and pencil inscription "Edition of 10 prints" en verso of backing paper, 16 in. x 11 in., unframed. $700/1000

17. Caroline Wogan Durieux (American/Louisiana, 1896‑1989), "Queen of the Carnival", lithograph on paper, pencil‑signed, titled and inscribed "printed by the artist ‑ 12 prints" lower margin, 13 3/4 in. x 9 3/4 in., unframed. $700/1000

18. Caroline Wogan Durieux (American/Louisiana, 1896‑1989), "Spectators", lithograph on paper, pencil‑signed and titled lower margin, 16 in. x 12 in., unframed. $700/1000

19. George Bellows (American, 1882‑1925), "Crucifixion of Christ (Mason 146)", 1923, lithograph, pencil‑signed, titled and inscribed "Bolton Brown Imp." lower margin, signed in plate lower left, edition of 65, 18 5/8 in. x 20 1/2 in., matted. $700/1000

20. Douglas Bourgeois (American/Louisiana, b. 1951), "Torch", 2009, linocut print on paper, pencil‑signed, titled, dated and numbered "3/63" lower margin, 10 in. x 8 in., framed. $500/800

21. Douglas Bourgeois (American/Louisiana, b. 1951), "Warrior", 2012, linocut print on paper, pencil‑signed, titled, dated and numbered "99/100" lower margin, 5 3/4 in. x 4 in., framed. $500/800

22. Louis Icart (French, 1888‑1950), "Miss America", 1927, drypoint and aquatint with hand‑coloring on paper, pencil‑signed lower right, "Copyright 1927 by Les Graveurs Modernes ‑ 194 Rue de Rivoli ‑ Paris" printed upper left, oval 20 in. x 15 3/4 in., framed. $800/1200

23. Jim Dine (American, b. 1935), "White Robe on Black Paper", 1977, lithograph on paper, pencil‑signed dated and numbered "29/100" lower, sheet 41 1/2 in. x 29 1/2 in., framed. $2000/3000

24. Pair of Antique Continental Neoclassical‑Style Verdigris Peinte Pedestals, each with rouge marble top, blocked frieze decorated with cast iron masks, stop‑fluted tapered supports terminating in paw feet, stretcher shelf, molded triangular base, h. 39 in., dia. 17 in. $800/1200

25. Pair of Empire‑Style Patinated Bronze and Marble Figural Athéniennes, c. 1900, circular top, supported by bearded terms, shaped triangular base, hoof feet, h. 43 in., w. 19 in., d. 19 in., top dia. 12 1/2 in. $1000/1500



26. Dutch Marquetry and Mixed Woods Side Table, possibly late 18th c., shaped top, small frieze drawer, turned standard, shaped sabre legs, h. 28 3/4 in., w. 23 1/2 in., d. 23 1/2 in. $500/700



27. American Gothic Carved Birdseye Maple and Parcel Gilt Harp, c. 1875, Browne & Buckwell, New York, 45‑string double‑action pedal harp ornamented with carved tracery, gilt rosettes set in Gothic niches, lion's paw feet, h. 69 1/4 in., w. 35 in., d. 18 in. $2500/3500

28. Grand Tour‑Style Molded Male Torso, 20th c., modeled after an Italian marble prototype, h. 20 1/2 in., w. 21 in., d. 7 in. $400/600

29. Bronze Bust of a Woman, unsigned, "Roman Bronze Works, Inc. NY" stamped on underside of proper left shoulder, h. 20 in., w. 17 in., d. 6 3/4 in., marble base, overall h. 24 in. $400/600



30. Bronze Figure of a Lady in Flowing Robes, after "The Spirit of Ecstasy" by Charles Sykes, inscribed signature on self‑base, h. 20 1/2 in., w. 14 1/2 in., d. 16 in., molded base with "Rolls Royce" insignia, overall h. 25 in. $800/1200



31. Vintage Philip and Kelvin LaVerne "Ming" Coffee Table, 1960s, rectangular top with etched and patinated bronze and pewter Chinese scene over wood, raised signature: "Phillip Kelvin LaVerne", round legs, stretchers, underside with old shipping label: "1 ming #132 table" from "Gem Ston... / 204 E. 28th St. / New York City", h. 17 1/8 in., w. 47 1/8 in., d. 24 1/8 in. $1500/2500

32. West Indies Bronze‑Mounted Mahogany Armchair in the Empire Taste, 19th c. incurvate crest rail, arm supports with bronze busts, square tapered legs, paw feet, h. 37 1/4 in., w. 23 1/2 in., d. 21 in. $500/700
Provenance: The Sturm Collection.
Ill.: Sturm, Philip. West Indies Antique Furniture of the Lesser Antilles, 1740‑1940. Antique Collectors' Club: Suffolk, 2011, pp. 154, 177.

33. West Indies Carved Mahogany and Caned Méridienne, 19th c., Trinidad, attr. to French artisans, foliate‑carved scrolled crest, conforming arm, molded seat rail, turned legs, casters, h. 35 in., l. 83 in., w. 21 3/4 in. $1200/1800
Provenance: The Sturm Collection.
Note: The exaggerated foliate-scrolled crest rail on the West Indies méridienne offered here is an elegant example of the distinctive regional influence applied to European forms on Caribbean furniture. The dimensionality of the carving paired with the caned back and seat and bulbous-turned legs is closely related to nearly identical pieces illustrated in West Indian Antique Furniture of the Lesser Antilles by Philip Sturm. Starting around 1830, palm fronds, flowers, leaves, shells, and other local flora and fauna were used in carvings on all forms of furniture, such as the carving on the present lot.
Ref.: Sturm, Philip. West Indies Antique Furniture or the Lesser Antilles, 1740-1940. Antique Collectors’ Club: Suffolk, 2011, pp. 44, 151.



34. American Classical Parcel Gilt and Ormolu‑Mounted Rosewood Box Sofa, c. 1820, attr. to Duncan Phyfe, New York, die‑cut brass inlaid crest rail, columnar stiles, paneled seat rail, acanthus‑carved legs, casters, h. 32 1/2 in., l. 82 in., d. 25 in. $2000/3000
Note: The “Grecian” box sofa, a form first used by New York cabinetmaker Duncan Phyfe around 1820, is related to French Restauration and English Regency design. The form is a stylish example of what scholars consider to be the second phase of Phyfe’s work—a phase characterized by the revival of the ornamented Grecian style in French Empire design. The sofa offered as lot 35 is nearly identical to a “Grecian” box sofa in the collection of The Art Institute of Chicago, featuring a die-stamped brass border, columnar stiles, elegant rosewood veneer, bronze mounts, and foliate-carved giltwood legs.
Ref.: Brown, Michael K., and Peter M. Kenny. Duncan Phyfe: Master Cabinetmaker in New York. New York: The Metropolitan Museum of Art and Yale University Press, 2011. pp. 79-82.



35. West Indies Carved Mahogany Armoire, 19th c., Trinidad, flared stepped cornice, paneled doors, fluted center stile, flanked by spiral turned colonnettes, shelf interior with belt of drawers, drum‑shaped feet, h. 75 7/8 in., w. 63 1/4 in., d. 29 3/8 in. $1500/2500
Provenance: The Sturm Collection.
Ref.: Sturm, Philip. West Indies Antique Furniture or the Lesser Antilles, 1740‑1940. Antique Collectors' Club: Suffolk, 2011, (related form) p. 164.



36. West Indies Carved Mahogany Tall Post Bedstead, acanthus‑carved reeded and spiral turned posts, melon finials, rope molded paneled headboard, tall turned feet, h. 97 in., l. 78 in., w. 51 3/4 in. $2000/3000

37. American Classical Carved Mahogany Dressing Table, early 19th c., Philadelphia, galleried two drawer superstructure, molded mirror on Ionic columnar supports, marble top, fitted frieze drawer with inset arch and gadrooning, columnar supports on incurvate plinth, acanthus carved paw feet, h. 84 in., w. 41 in., d. 21 1/2 in. $1000/1500



38. American Classical Carved Mahogany Poster Bed, c. 1820‑1840, probably Baltimore, extensively carved foliate and reeded posts, scrolled foliate crest, stick tester, paneled headboard, plain rails, conforming legs, turned feet, h. 97 in., l. 71 7/8 in., w. 54 1/4 in. $1500/2500



39. American Late Classical Figured Mahogany Armoire c. 1840, possibly Baltimore, cavetto cornice, paneled doors, later divided and shelf interior, plinth base, ball feet, h. 80 in., w. 52 1/2 in., d. 21 in. $1000/1500
Provenance: St. Delphine Plantation, West Baton Rouge Parish.

40. William IV Carved Walnut Folio Stand, 19th c., slatted supports, turned stretchers, trestle base, ball feet, h. 46 3/4 in., w. 31 1/2 in., d. 28 in. $800/1200

41. Regency‑Style Mahogany and Leather‑Bound Folding Library Ladder, brass nailhead trim, h. 102 3/8 in., w. 12 3/4 in. $600/900

42. English Carved Mahogany Library Steps, brass finial, turned standard, tooled leather treads, tapered feet, h. 60 1/2 in. $300/500

43. English Aesthetic Movement Carved and Ebonized Armchairs, c. 1868‑1885, after a design by E.W. Godwin, probably made by William Watt (active 1868‑1885), London, reticulated back, shaped arms, caned seat, X‑stretcher, tapered legs, h. 33 1/2 in., w. 20 1/2 in., d. 20 in. $1200/1800
Ref.: Soros, Susan, The Secular Furniture of E. W. Godwin. New York: Yale University Press, 1999, pp. 89‑91, plates 108‑110b (similar examples) and also refer to the frontispiece illustration and also plate 15 under "Old English or Jacobean Furniture" in Art Furniture Designed by Edward W. Godwin, F.S.A. and Manufactured by William Watt..., reprinted in Soros, pp. 363 and 271.



44. Vintage English Leather Trunk, probably late 19th c., hinged top with a silvered and enameled coronet, carrying handles, h. 12 3/4 in., w. 30 in., d. 19 in., on later mahogany stand, h. 18 1/2 in., w. 30 1/4 in., d. 19 1/4 in. $400/600

45. American Aesthetic Carved Walnut Étagère, late 19th c., galleried top, bobbin‑turned beaded supports, serpentine shelves, base drawer, turned legs, casters, h. 56 in., w. 26 1/2 in., d. 15 in. $300/500



46. American Egyptianesque Carved and Ebonized Armchair, c. 1875, possibly Pottier and Stymus, New York, stylized falcon wing back panel, padded back and arms on sphinx supports, reeded seat rail, turned and carved legs with lotus leaf detailing, h. 31 in., w. 27 in., d. 23 in. $2000/3000
Note: The Egyptian Revival of the late 19th century developed from a general cultural interest in the ancient world, which was rooted in the popularity of European Neoclassicism earlier in the century. By the 1870s, stylish New York cabinetmakers, such as the firm of Pottier & Stymus, incorporated Egyptian motifs in furniture, like those on the chair in the lot shown here. The chair’s distinctively Egyptian features, including the winged orb, lotus blossoms, and sphinx arms, and the chair’s overall angular design are nearly identical to three other documented examples in the collections of Atlanta’s High Museum of Art, the Museum of the Rhode Island School of Design, and the Philadelphia Museum of Art (accession no. 1975-126-1).
Ref.: Pierce, Donald C. Art & Enterprise: American Decorative Art, 1825-1917, The Virginia Carroll Crawford Collection. Atlanta: The High Museum of Art, 1999, pp. 142-145; Monkhouse, Christopher P., et. al. American Furniture in Pendleton House. Providence: Museum of Art, Rhode Island School of Design, 1986, pp. 136, 193-194.

47. Three Modern Gothic Ebonized Chairs, late 19th c., after a design by E.W. Godwin (1833‑1886), incl. armchair and two side chairs, button tufted backs with reticulated rail, bracketed stiles, lion's mask arm terminals, shaped seat rail, paw feet, armchair h. 36 1/2 in., w. 31 1/2 in., d. 30 1/4 in., side chair h. 31 3/4 in., w. 23 1/4 in., d. 22 in. $500/700

48. Antique English Mahogany Folding Library Steps, 19th c., inset brass rivets, shaped steps, h. 35 in., w. 15 1/2 in., d. 30 in. $400/600

49. English Carved Rosewood Pole Screen, 19th c., needlepoint screen, turned standard, circular base, scrolled feet, h. 61 in., w. 18 in., d. 16 in. $300/500

50. Continental Neoclassical‑Style Carved and Painted Pedestal, shaped foliate‑carved top, guilloche frieze with ram's head, fluted standard, hoof feet, shaped plinth base, h. 39 1/4 in., w. 17 in., d. 17 in. $500/750



51. Continental Carved, Polychromed and Ebonized Walnut Figural Side Table, demilune glass top, foliate carved frieze, dolphin standard, shaped base, scrolled feet, h. 31 3/4 in., w. 23 1/2 in., d. 13 1/2 in. $300/500



52. Pair of English Carved Oak Collector's Cabinets, early 20th c., possibly Heals & Co., London, molded tops, locking side panels, bank of drawers, each labeled with hand‑painted number, plinth base, h. 58 in., w. 29 1/2 in., d. 19 1/2 in. $800/1200

53. Ellsworth Woodward (American/New Orleans, 1861‑1939), "Pines", watercolor on paper, initialed lower left, later pen inscription en verso, 20 in. x 15 in., framed. $2500/3500

54. William Woodward (American/New Orleans, 1859‑1939), "Feeding the Ducks by the Pier, New England", 1890, watercolor on paper, signed and dated lower left, 16 in. x 22 in., framed. $2500/3500



55. Thornton, Robert John. Temple of Flora, or Garden of the Botanist, Poet, Painter, and Philosopher, London, 1812, small folio (15 1/4 in. x 11 3/4 in.), engraved title over two leaves, hand‑colored plate ("Flora dispensing her Favours on the Earth"), 2 uncolored plates ("Cupid, Flora, Ceres, and Esculapius, Honouring the Bust of Linnaeus" and "Cupid inspiring Plants with Love"), with 28 stipple engravings with aquatint or mezzotint (inc. the Persian Cyclamen, not found in some copies), red straight‑grained morocco tooled in gilt and blind, gilt edges, with custom cloth‑covered clamshell box. $5000/7000

56. [Rare Uncolored Proof] Dr. Robert John Thornton/Publisher, 2 examples of "The Superb Lily", one hand‑colored mezzotint with aquatint; and an uncolored proof plate, also without lettering, from The Temple of Flora, 1799, sight 29 in. x 15 in., matted and framed alike. $1500/2500

57. Dr. Robert John Thornton/Publisher, "The White Lily with Variegated Leaves" and "The Blue Egyptian Water Lily", 2 hand‑colored engravings with mezzotint, from Temple of Flora; or Garden of Nature, 1798‑1812, sights 19 1/2 in. x 14 1/2 in. and 19 1/2 in. x 15 1/2 in., framed. $800/1200



58. Pair of Antique North American Hand‑Colored Engravings, Quebec" and "A View of Philadelphia from Belmont", 1873/1874, from Picturesque America, sights 7 1/2 in. x 12 in., framed alike. $150/250



59. Ellsworth Woodward (American/New Orleans, 1861‑1939), "Ursuline Convent (Boyer 95)", "Clothing Store (Boyer 15)", "707‑709 Rue Dumaine, Double Parapet House (Boyer 76, fig. 39)", 1931, and "Grocery and Bar (Boyer 35, fig. 40)", 4 etchings on paper, each initialed "E.W." and one dated in plate, 7 1/2 in. x 9 1/2 in. to 8 1/4 in. x 9 1/2 in., unframed. (4 pcs.) $1000/1500



60. Ellsworth Woodward (American/New Orleans, 1861‑1939), "707‑709 Rue Dumaine, Parapet Double House (Boyer 77)", "Tinsmith Shop I, 612 Royal St. (Boyer 90)", "Corner Ursuline, 1040 Chartres (Boyer 16, fig. 14)", 1931, and "Courtyard with Pigeons, Cabildo (Boyer 18)", 4 etchings on paper, each initialed "E.W." and one dated in plate, 9 3/4 in. x 8 in. to 8 in. x 9 1/2 in., unframed. (4 pcs.) $1000/1500



61. Walter Inglis Anderson (American/Mississippi, 1903‑1965), "Blue Jays", watercolor on paper, unsigned, copy of estate certificate and "Bryant Galleries, Jackson" label en verso of backing paper, 8 1/2 in. x 11 in., framed. $8000/12000

62. Morris Henry Hobbs (American/New Orleans, 1892‑1967), "Landscape with Deer and Porcupine", 1944, watercolor on paper, signed and dated lower left, inscribed lower right, 14 in. x 18 in., framed. $1000/1500

63. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), "Monostitch", from the "Diminutive" series, 1979, color screenprint, printed by Terry Weldon's workshop, pencil‑initialed, dated and numbered "75/100" lower edge, sheet 6 1/4 in. x 6 3/4 in., float‑mounted and framed. $600/900

64. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), "Landscape with Four Xs", from the "Diminutive" series, 1979, color screenprint, printed by Terry Weldon's workshop, pencil‑initialed, dated and numbered "75/100" lower edge, sheet 4 1/4 in. x 7 in., float‑mounted and framed. $600/900

65. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), "Cupid's Work", from the "Diminutive" series, 1979, color screenprint, printed by Terry Weldon's workshop, pencil‑initialed, dated and numbered "75/100" lower edge, sheet 6 1/2 in. x 4 in., float‑mounted and framed. $600/900

66. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), "Quiet Boxes", from the "Diminutive" series, 1979, color screenprint, printed by Terry Weldon's workshop, pencil‑initialed, dated, and numbered "75/100" lower edge, sheet 6 1/4 in. x 7 1/2 in., float‑mounted and framed. $600/900

67. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), "Encircled", from the "Diminutive" series, 1979, color screenprint, printed by Terry Weldon's workshop, pencil‑initialed, dated and numbered "75/100", sheet 7 1/2 in. x 7 1/2 in., float‑mounted and framed. $600/900

68. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), "Landscape with Two Xs", from the "Diminutive" series, 1979, color screenprint, printed by Terry Weldon's workshop, pencil‑initialed, dated and numbered "75/100" lower edge, sheet 5 1/2 in. x 4 5/8 in., float‑mounted and framed. $600/900

69. Morris Henry Hobbs (American/New Orleans, 1892‑1967), "Blue Hummingbird on a Branch", watercolor on paper, signed lower right, 17 in. x 12 in., framed. $1200/1800



70. Morris Henry Hobbs (American/New Orleans, 1892‑1967), "Tending the Garden, Vieux Carré Patio", oil on canvas, signed lower left, stamped "Devoe" on stretcher bar, 18 in. x 14 in., period frame. $2000/3000
Provenance: Estate of the artist, Mandeville, LA; descended in the family.



71. Alexander John Drysdale (American/New Orleans, 1870‑1934), "Sunrise in Fog, Bayou Barataria, Louisiana", 1933, oil on canvas, signed and dated lower left, signed, titled, dated and inscribed en verso, 10 in. x 20 in., period frame. $3000/5000



72. Clarence Millet (American/New Orleans, 1897‑1959), "Cathedral After Rain ‑ New Orleans", oil on canvas board, signed lower right, signed and titled en verso, 14 3/4 in. x 17 3/4 in., period frame. $8000/12000



73. David Harouni (American/New Orleans, b. 1962), "Untitled: Triptych", oil on gallery‑wrapped canvas, one panel signed lower right, 2 panels signed en verso, overall 7 7/8 in. x 23 5/8 in., unframed. (3 pcs.) $2000/3000

74. Withdrawn



75. Clyde Connell (American/Louisiana, 1901‑1998), "No. 2: Figures", 1986, mixed media on handmade paper, initialed "C.C." lower right, pencil‑signed, titled, dated "May 1986" and inscribed en verso, 17 in. x 12 in., framed. $1000/1500
Provenance: Private Collection, Dallas, TX.



76. Clyde Connell (American/Louisiana, 1901‑1998), "Untitled: Figures", 1986, mixed media on handmade paper, initialed "C.C." and dated lower right, pencil‑signed and dated en verso, 21 1/4 in. x 17 in., framed. $1000/1500
Provenance: Private Collection, Dallas, TX.



77. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), "Study: Girl Reclining", 1956, oil on masonite, signed lower right, 19 in. x 48 in., unframed. $8000/12000
Ill.: Kohlmeyer, Ida. Introductory Essay for a Series of Paintings Concerning the Mood of Aloneness in Children. Tulane University Masters of Fine Arts Thesis, 1956.
Note: In the collection of paintings and drawings Ida Kohlmeyer presented for her Master’s Thesis in 1956, the artist focused on the mood of aloneness in children, which she portrayed through pencil, crayon, oil, and gouache. Kohlmeyer noted that to avoid “pathos and melodrama,” and to emphasize the “evasive quality of the mood,” she needed to paint quickly and directly from the models, resulting in fresh, powerful works. In the introductory essay she wrote for the thesis, Kohlmeyer observed: “vision and emotion are instantaneous and speed, at this point, seemed required to amalgamate the two.”
In the seminal painting offered here, Kohlmeyer concentrates more on the figure of the child and less on the space around her than in previous works, such as “Study: Girl with Flower” (sold in these rooms September 9, 2017), in which the subject is smaller and the depiction of the room takes on more of an importance in the composition. Here Kohlmeyer deliberately attempted to unify the form and content by creating a pattern of darks and lights throughout, that resulted in the figure and the background fusing into one continuous design. Additionally, references to classical reclining nudes may be observed in the pose of the model. A lovely early example of Kohlmeyer’s use of color, the palette complements the contemplative nature of the picture, as well as hinting at the artist’s abstract color block series to come.
Ref.: Kohlmeyer, Ida. Introductory Essay for a Series of Paintings Concerning the Mood of Aloneness in Children. Tulane University Masters of Fine Arts Thesis, 1956.



78. Fritz Bultman (American/New Orleans, 1919‑1985), "Interior ‑ Game", 1952, oil on canvas, monogrammed "FB" lower right, signed, dated "Aug 1952" and titled en verso, 30 in. x 38 in., framed. $30000/50000
Provenance: Gift of the Artist, c. 1950s; Private Collection, Uruguay.
Exh.: Kootz Gallery, New York, Sept. 15 ‑ Oct. 4, 1952, no. 11.
Note: Among the leading artists of the Abstract Expressionist generation, Fritz Bultman joined the “Irascibles” in 1950, signing a letter to the heads of the Metropolitan Museum of Art protesting the conservative nature of their exhibitions. However, Bultman missed the Life magazine famous photograph of the group in 1951, as he was studying sculpture in Italy at the time. By 1952, Bultman and his wife returned to New York City, where he became increasingly involved in the city’s vibrant art scene and taught at Pratt Institute until 1959. By the time of “Interior – Game” offered here from 1952, Bultman had transitioned from his earlier works based on mythological themes such as that of Actaeon, although hints of these myths may subtly remain in the aggressive nature of the elements vying within the composition. The bold color palette of reds and yellows are pitted against a network of black lines, hinting at the struggle between structure and chaos and the influences of gestural painting.
Bultman’s upbringing in New Orleans remains within his works, with fire and heat represented by the color red a common element. The artist recalled the burning of the swamps in Louisiana as a boy: “What appears to be a sheet of water will be burning with very high flames against a blue sky – I don’t know anything else that seems to me as beautiful as that…It’s fire and water. You very seldom see them together in such close juxtaposition as you do when they are burning a swamp.”
In addition to the use of color, a similar combination of circles and cruciform configurations to those seen in this painting appear throughout his work from the period, including one similarly titled “Interior Rain” of 1953. These meticulously crafted compositions bridge nature and personal narrative and set Bultman apart from his contemporaries. Bultman’s work was described by a critic in 1950 as having a “blood on the moon fierceness that strikes at the heart,” and the painting offered here is no exception.
Ref.: Andrew, Jason. “Blood on the Moon Fierceness: Fritz Bultman’s Paintings and Collages.” Hyperallergic. Apr. 29, 2013. www.hyperallerigc.com. Accessed Dec. 17, 2017. Gruber, J. Richard. "Fritz Bultman." Encyclopedia of Louisiana. Sept. 12, 2012. www.knowlouisiana.org. Accessed Dec. 17, 2017. Kingsley, April and Fritz Bultman. Fritz Bultman: A Retrospective. New Orleans: New Orleans Museum of Art, 1993.



79. Pat Trivigno (American/New Orleans, 1922‑2013), "Untitled: Abstraction in Red, Brown and Black", acrylic on canvas, signed lower right, inscribed "Lauria Canvas" en verso, 50 in. x 40 1/4 in., original frame. $2500/3500



80. Shearwater Art Pottery Footed Bowl, c. 1955, decorated by Walter Inglis Anderson with stylized duck design, thrown by Peter Anderson, heavy slip in a variety of colors, impressed stamp on base, h. 3 1/8 in., dia. 8 1/4 in., $1000/1500
Ill.: Stewart, Dod, et. al. Shearwater Pottery, Slidell: Bristol Publishing, 2005, p. 72.



81. Shearwater Art Pottery Bowl or Flowerpot Saucer, c.1950‑1980, "Blue Jay" design, attr. to Walter Inglis Anderson, blue, black and ochre underglaze, impressed stamp on base, h. 1 1/2 in., dia. 7 3/8 in. $800/1200



82. Shearwater Art Pottery Vase, c. 1940, thrown by Peter Anderson, double alkaline blue and brown glaze in the "rain" design, impressed stamp on base, h. 6 1/4 in., dia. 5 in. $600/900

83. Shearwater Art Pottery Jiggered Saucer, c. 1950, decorated by Walter Inglis Anderson with "Wood Duck" design, thrown by Peter Anderson, heavy slip in a variety of colors, impressed stamp on base, dia. 6 in. $400/600
Ill.: Stewart, Dod, et. al. Shearwater Pottery, Slidell : Bristol Publishing, 2005, p. 271.



84. Shearwater Art Pottery Vase, 1992, low relief carved design by James McConnell "Mac" Anderson, thrown by James "Jim" Anderson, antique green glaze, base signed and dated by both artists, h. 8 in., dia. 5 in. $300/500



85. Newcomb College Art Pottery High Glaze Vase, 1904, decorated by Harriet Joor with incised lines and relief carved plumbago design, blue, green and mustard yellow underglaze, base marked with Newcomb cipher, decorator's mark, partial potter's mark (prob. Joseph Meyer), reg. no. ZZ68, h. 5 in., dia. 6 1/2 in. $3000/5000



86. Newcomb College Art Pottery Vase, 1928, decorated by Anna Frances Simpson with relief‑carved tall pine‑tree design, matte glaze with blue and green underglaze, base marked with Newcomb cipher, faint decorator's mark, reg. no. QR51 and shape no. 327, h. 5 5/8 in., accompanied by detached original paper label. $2500/3500



87. Newcomb College Art Pottery Vase, 1921, decorated by Sadie Irvine with relief‑carved Japanese plum design, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer potter's mark, reg. no. LN19 and shape no. 115, h. 12 1/2 in., dia. 5 in. $6000/9000

88. Newcomb College Art Pottery High Glaze Vase, 1904, decorated by Harriet Coulter Joor with incised design of clovers, blue and green underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. VV92, and "W" for white clay body, h. 11 1/2 in. $8000/12000
Provenance: Drs. Arnold and Helene Gerall, New Orleans, LA and Chapel Hill, NC.



89. Newcomb College Art Pottery Vase, 1928, decorated by Henrietta Bailey with relief‑carved jimsonweed design, matte glaze with blue, green, yellow and white underglaze, base marked with Newcomb cipher, decorator's mark, partial potter's mark (prob. Joseph Meyer), reg. no. QX11 and shape no. 8, retains original paper label, h. 3 5/8 in., dia. 4 1/2 in. $1500/2500



90. Newcomb College Art Pottery Vase, 1928, decorated by Sadie Irvine with relief‑carved rain lily blossom and foliage design, matte glaze with blue, green, white and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Jonathan Hunt potter's mark, reg. no. RG98, h. 6 3/4 in., dia. 5 in. $1500/2500



91. Newcomb College Art Pottery Vase, 1929, decorated by Sadie Irvine with landscape design of moss laden oak trees at sunset, matte glaze with blue, green and pink underglaze, base marked with Newcomb cipher, decorator's mark, faint Jonathan Hunt potter's mark, reg. no. RT11 and shape no. 4, h. 3 1/4 in., dia. 3 in. $1000/1500



92. Shearwater Art Pottery Cast Vase, 2012, "Sea, Earth and Sky" design after Walter Inglis Anderson, heavy slip in a variety of colors, impressed stamp and date on base, h. 12 in., dia. 8 1/4 in. $500/700



93. Shearwater Art Pottery Cast Plantation Wine Bottle with Lid, 2012, design after Walter Inglis Anderson, heavy slip in a variety of colors, impressed stamp and date on base, h. 13 1/2 in., dia. 5 1/4 in. $300/500



94. Pair of Shearwater Pottery Figural Pelican Bookends, 2009, impressed mark and date on both bases, shoal glaze, h. 10 1/4 in., w. 4 1/4 in. $500/700

95. San Ildefonso Pueblo Blackware "Avanyu" Dish by Maria Martinez (1887‑1980) and Popovi Da (1922‑1971), mid‑20th c., dia. 11 7/8 in. Note: Repair to rim. $300/500
Provenance: Collection of Judy and the late Morris (1939‑2017) Massey, New Orleans.



96. Two Pairs of Shearwater Art Pottery Cups and Jiggered Saucers, c. 1950, cups in the "Wave" design and saucers in the "Wood Duck" design decorated by Walter Inglis Anderson, thrown by Peter Anderson, heavy slip in a variety of colors, impressed stamp on bases, cup h. 2 1/2 in., dia. (w/o handle ) 3 1/8 in., saucer dia. 6 in. $800/1200

97. Two Shearwater Art Pottery Table Items, c. 1940‑1950, first: shaken or candy dish decorated by Walter Inglis Anderson with duck design, black and white underglaze, dia. 5 1/2 in.; second: jiggered saucer decorated by Walter Inglis Anderson with two stylized dolphins, navy and white underglaze, dia. 5 3/4 in., both thrown by Peter Anderson, both unmarked. $600/900



98. Shearwater Art Pottery Cast Pitcher, c. 1940‑1950, decorated by Walter Inglis Anderson with snake design in stylized bands, thrown by Peter Anderson, heavy slip in a variety of colors, handwritten "Shearwater" on base, h. 5 1/2 in., w. (incl. handle) 5 3/4 in. $800/1200



99. Shearwater Art Pottery Mug, c. 1940, decorated by Walter Inglis Anderson in the "Ducks" design, thrown by Peter Anderson, black and white underglaze, impressed stamp on base, h. 4 3/4 in., dia. (w/o handle) 3 3/8 in. $500/700

100. John McCrady (American/New Orleans, 1911‑1968), "It's a Big World ‑ Oxford", c. 1963‑65, carbon acrylic on board, signed lower right, titled lower left, artist label with title en verso, 22 in. x 30 in., original artist‑enhanced frame. $20000/30000
Provenance: Descended in the family of the artist.
Note: Raised in Oxford, Mississippi, John McCrady had a profound connection with the city and often included its buildings in his paintings, particularly those around Historic Oxford Square, the location of Lafayette Courthouse. Although the original square was destroyed during the Civil War, the new courthouse, which was constructed in 1872, and the buildings around it were quickly rebuilt.
In the foreground of the painting offered here, "It's a Big World - Oxford," McCrady and his wife, Mary Basso McCrady, peruse a street vendor's wares on the courthouse lawn while a small child pauses in his play. It was not uncommon for McCrady to paint self-portraits or place himself in a scene that he was creating. Self-portraiture was an important part of McCrady's oeuvre; he felt that by including his own likeness, as well as those of the people around him, he was adding a psychological aspect to his work, as well as imbuing it with a part of his soul.
McCrady painted many scenes of Oxford Square, including “Town Square, Oxford,” (which was destroyed in a fire), “Rural Symposium,” “The Square,” “The Courthouse,” “The Citadel,” (which features Lafayette Courthouse), “Political Rally,” (sold in these rooms October 11, 2008), and “Metamorphosis,” (sold in these rooms October 4, 2003). Additionally, in his 1964 work, “The Golden Rule,” McCrady featured a specific store from the Square, in this case a bargain store whose name is the title of the piece.
Similarly, in the current lot, a crowd can be seen at 114 Courthouse Square - the location of Shaw and Sneed Hardware Store. This work can be dated to between the years 1963, when McCrady began his experimentation with the carbon acrylic method, and 1965, when the hardware store changed its name to Sneed's Ace Hardware. Although the company, which is still run by descendants of the original owners, Parham Shaw and Payne Sneed, has since expanded into a larger building only a few blocks away, the original building at 114 Courthouse Square still exists. The three arched windows remain intact just as McCrady painted them.
The space occupied by John and Mary McCrady, the child, and the vendor in the foreground, remains in use as a market on the first and third Saturday of every month. As such, McCrady has provided us with a slice of life in the 1960s that continues to resonate today.
Ref.: Marshall, Keith. John McCrady: 1911-1968. New Orleans: Franklin Printing Co., 1975; Farris, Teresa Parker. City on a Hill: John McCrady’s Oxford, Mississippi. University of Mississippi Master of Arts Thesis, 2005.

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