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Information below is the lot/description information from our Summer Estates Auction, June 22 & 23, 2019. 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 101-200

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101. Antique English Silverplate Soup Tureen in the Rococo Taste, 19th c., crossed keys marks of Creswick & co., domed cover with pomegranate finial, shell, flower and scroll border, scroll feet, original removable liner, h. 10 7/8 in., w. 14 3/4 in., d. 11 1/8 in. $400/600

102. George III Sterling Silver Brandy Warmer, Peter & Ann Bateman, London, 1795, mark reg. 1791, squat form with engraved armorial, turned wood handle, l. 8 in., wt. 3.55 troy ozs. $300/500

103. Pair of Silverplate Campagna Form Wine Coolers, removable liner with collar, foliate handles. $300/500

104. Six Antique English Silverplate Service Plates, gadrooned border, applied shield with engraved winged griffin, crossed keys and leopard's head marks, dia. 10 5/8 in. $300/500



105. Elkington & Co. Silverplate Breakfast Tureen, date mark for 1884, and with English Registry mark for April 16, revolving cover, fluted legs with ram's heads and hoof feet, drop-loop handles, retains both interior liners, h. 8 3/4 in., w. 13 1/8 in., d. 9 7/8 in. $200/300



106. English Modern Gothic Carved and Parcel Ebonized Oak Sideboard, mid-to-late 19th c., labeled "R. Garnett & Sons...117", mirrored back, chamfered, finialed uprights, medial shelf, top with lozenge checkerboard ebonization, incised drawer flanked by a pair of paneled floral doors, blocked base, original brasses, h. 78 in., w. 86 in., d. 28 in. $2000/3000



107. American Renaissance Parcel Ebonized, Inlaid Walnut and Burl Library Table, mid-to-late 19th c., inset leather top, two frieze drawers, tapered legs, shaped stretcher, disc feet, h. 28 1/2 in., w. 42 in., d. 28 in. $1000/1500



108. Rare Antique American Steer Horn Armchair, late 19th c., attr. to Wenzel Friedrich, San Antonio, Texas, back, arms and legs comprised of tipped steer horns, hide back and seat, L.C. Tiffany glass and brass feet, h. 38 in., w. 30 1/2 in., d. 28 in.; together with a hide upholstered footstool, h. 15 in., w. 15 in., d. 12 1/2 in. $4000/6000
Note: A native of Bohemia where he trained as a cabinetmaker, Wenzel Friedrich immigrated to San Antonio, Texas in 1853 and subsequently opened a furniture business that sold revival pieces to wealthy Texans. By 1880, Friedrich began crafting his innovative horn pieces after being inspired by similar European examples and seeing the plentiful availability of longhorn in Texan stockyards. He went on to exhibit horn furniture at several world expositions, including the 1884 Cotton Centennial Exposition in New Orleans, where he received a gold medal. This recognition, along with a cultural fascination with the American West during a period of rapid westward expansion, made his pieces immensely popular in both the U.S. and Europe. He sold pieces to many wealthy East Coast clients and to world dignitaries including Queen Victoria and Kaiser Wilhelm I.
Ref.: “Longhorn Armchair, 1880-90.” Cooper Hewitt Design Museum. collection.cooperhewitt.org/objects/18620777/. Accessed May 22, 2019; “History and Design of a Texas Horn Table.” iGavel Auctions. igavelauctions.com/blog-posts/history-and-design-of-a-texas-horn-table-wenzel-friedrich-horn-veneered-center-table-number-12. Accessed May 22,



109. American Renaissance Carved and Inlaid Rosewood Parlor Suite, late 19th c., attr. to Herter Brothers, New York, incl. settee and 2 slipper chairs, bellflower motif inlay, tapered legs, casters, settee h. 34 1/2 in., w. 57 in., d. 27 in.; chair h. 32 in., w. 23 in., d. 21 in. $3000/5000
Note: The overall form and modeling of the parlor suite in the present lot is indicative of the influence of French design in Herter Brothers furniture—a stylistic shift evident in the firm’s work after Christian Herter’s residency in Paris from 1869-1870. The distinctive bellflower inlay and gilt-incised motifs on this parlor suite are nearly identical to a chair made by the firm for the music room of the LeGrand Lockwood Mansion in Norwalk, Connecticut.
Ref.: Howe, Katherine S., et al. Herter Brothers: Furniture and Interiors for a Gilded Age. Houston: The Museum of Fine Arts, Houston, 1994, pp. 29, 146-147.



110. American Belle Époque Highly Carved Oak Buffet in the French Renaissance Taste, c. 1900, labeled "Geo. C. Flint Co. West 23rd St. N.Y.", molded top, two drawers above cabinet doors, blocked lion's masks above caryatid figural supports, conforming base, h. 36 1/2 in., w. 70 in., d. 28 1/2 in. $1500/2500



111. Italian Carved Walnut Hall Table, 19th c., top with scalloped border and frieze, robustly carved scrolled supports decorated with masks and paw feet, shaped foliate stretcher, scrolled feet, h. 31 in., w. 87 in., d. 35 in. $4000/6000

112. Antique Louis XV-Style Carved Fruitwood Invalid's Chair, probably 18th c., shaped wingback, padded arms with ratchet mechanism, rounded seat rail, stretcher base, blocked legs, h. 52 in., w. 29 in., d. 19 in. $1000/1500
Provenance: The Estate of Caroline P. Ireland.

113. Louis XV-Style Carved and Painted Stool, volute upright supports, reeded arms, serpentine seat rail, cabriole legs, scrolled toes, h. 24 in., w. 23 in., d. 18 in. $300/500
Provenance: The Estate of Caroline P. Ireland.

114. Antique Federal-Style Inlaid Mahogany "Apprentice" Miniature Bureau à Cylindre, 19th c., retracting cylinder lid enclosing finely fitted interior, pull-out writing surface, above three drawers, molded base, h. 14 in., w. 14 in., d. 8 1/2 in. $800/1200

115. Antique Louis XV-Style Carved Mahogany "Apprentice" Bombe Commode, 19th c., serpentine top, three bronze-mounted drawers, scalloped base, flared feet, h. 11 in., w. 15 in., d. 8 in. $500/700

116. Continental Carved and Inlaid Rosewood Méridienne, 19th c., possibly Russian, serpentine crest rail, scrolled end arm, leaf and winged griffin upright support, shaped rail, cove-molded block feet, h. 33 1/2 in., w. 72 in., d. 24 1/2 in. $1200/1800

117. Pair of Moorish Bone Inlaid Hardwood Side Tables, molded top, spindled frieze, shaped brackets, turned disc feet, h. 26 1/2 in., w. 24 in., d. 24 in. $1000/1500

118. Continental Neoclassical-Style Parcel Gilt and Burl Wood Sécrétaire à Abattant, arched fan-carved top fitted with a conforming drawer, fall front door opens to elaborately fitted interior, two lower drawers, paw feet, h. 64 in., w. 44 in., d. 18 in. $1000/1500



119. Rare Pair of Venetian Rococo Painted and Parcel Gilt Console Tables, 18th c., each with serpentine rouge faux marbre top, shell carved frieze, four carved cabriole legs, leaf and scroll stretcher, paw feet, antique gilt and paint surface, h. 37 in., w. 72 in., d. 27 in. $15000/25000

120. Rare Suite of Eight Portuguese Rococo-Style Carved Rosewood Armchairs, 19th c., acanthine crest, scrolled ears, reticulated splat, scrolled arms, serpentine seat rail, cabriole legs, ball and claw feet, molded stretcher, h. 44 in., w. 25 in., d. 20 in. $5000/7000

121. Near Pair of Régence-Style Carved Walnut Fauteuils à la Reine, high square back, floral-carved scrolled arms, rocaille-carved apron, cabriole legs, taller h. 49 in., w. 29 in., d. 22 in., shorter h. 47 1/4 in., w. 28 in., d. 22 in. $2000/3000

122. Fine Pair of Italian Parcel Gilt Miniature Vitrine Cabinets of Rococo Inspiration, 19th c., pedimented cornice with mirrored frieze, bellflower carved molded door, silk interior, floral-carved cartouche base, hinged back, h. 34 in., w. 22 in., d. 7 in. $1500/2000

123. Antique Russian Neoclassical-Style Bronze-Mounted Mahogany Commode, stepped demilune top, three graduated drawers, fluted stiles, tapered legs, h. 33 in., w. 37 1/2 in., d. 20 in. $4000/6000

124. Venetian Rococo Painted Console Table, 18th c., molded serpentine faux marbre top, frieze drawer, serpentine base, cabriole legs, ball and claw feet, h. 27 1/2 in., w. 37 in., d. 21 in. $2000/3000



125. Louis XV Carved, Inlaid and Brass-Mounted Armoire, 18th c., elaborately carved foliate crest, double-arched cornice, cartouche-paneled doors, cabriole legs, scrolled toes, h. 98 in., w. 55 in., d. 22 1/2 in. $5000/7000

126. Rosa Marie Bonheur (French, 1822-1899), "Two Brahmin Bulls Fighting with Locked Horns", c. 1868-1875, oil on canvas, monogrammed lower right, label with artist on stretcher, 9 1/2 in. x 14 1/2 in., framed. $4000/6000
Exh.: "The Forest of Fontainebleau: Refuge of Reality - French Landscape 1800 to 1870", Shepherd Gallery, New York, NY, 1972 and illustrated in the accompanying catalogue, no. 100.

127. Joseph Honoré Maxime Pellegrin (French, 1793-1869), "Barque Zephyr, Capt. Ernest Lane Leaving Marseilles for Palermo, Dec. 22 1856", watercolor on paper, unsigned, labels with title and artist attribution on backing, sight 17 1/2 in. x 26 1/2 in., frame with title plaque. $2500/3500
Provenance: Marine Arts Gallery, Salem, MA, 1981.
Note: Along with fellow artists Nicolas Cammillieri and various members of the Roux family, Joseph Pellegrin helped to transform the bustling seaport of Marseilles into a center of marine painting. Pellegrin was admired for his technical accuracy and clear, soft color palette. Adhering to the preferred style of the time and region, he concentrated on the characteristics of the particular vessel, only briefly detailing the background. As with all accomplished ship portraitists, he had a true understanding of the workings of a ship and the sea, and his precise depictions made him popular with ship owners and mariners. Ernest Lane, captain of the ship depicted here, was from the small fishing village of Annisquam, MA. He was a member of a prominent sea-faring family; his brother and nephews were all captains of ships working out of nearby Gloucester Harbor. Lane later served in the Navy during the Civil War.
Ref.: Archibald. Dictionary of Sea Painters. Suffolk: Antique Collector's Club Ltd., 1980. Smith. "American Ship Portraits and Marine Painting, Introduction." Resource Library, Jan. 8, 2009.

128. Pierre-Auguste Renoir (French, 1841-1919), "Le Chapeau Épinglé", c. 1894, drypoint etching, stamped signature lower right margin, indistinct watermark visible, handwritten label indicating a first state print on backing, sheet 12 3/8 in. x 7 15/16 in., framed. $1000/1500
Provenance: The Estate of Caroline P. Ireland.



129. Jean Dubuffet (French, 1901-1985), "Immeuble", 1976, screenprint, pencil-initialed and dated lower right, numbered "7/50" lower left, sheet 27 1/2 in. x 34 5/8 in., framed. $3000/5000

130. Salvador Dalí (Spanish, 1904-1989), "Petits Nus Ronsard", 1968, hand-colored etching with drypoint on Japan paper, pencil-signed, dated and "Dalí" blind stamp lower right margin, edition of 50 printed by Brewster Gallery, New York, NY, sheet 15 5/16 in. x 11 3/16 in., framed; accompanied by copy of certificate of authenticity from the Brewster Gallery, INC., New York, NY. $600/800

131. Walter Inglis Anderson (American/Mississippi, 1903-1965), "Perch", watercolor on paper, unsigned, 8 1/8 in. x 11 in., framed; accompanied by copy of certificate of authenticity from the estate of the artist. $10000/15000

132. Walter Inglis Anderson (American/Mississippi, 1903-1965), "Painted Terrapin", watercolor on paper, unsigned, 8 1/2 in. x 11 in., framed; accompanied by copy of certificate of authenticity from the estate of the artist. $10000/15000



133. Marie Atkinson Hull (American/Mississippi, 1890-1980), "Sleeping Flamingos", watercolor on board, signed lower right, signed, titled and inscribed en verso, 20 in. x 16 in., framed. $7000/10000
Provenance: Natchez Art Association.



134. Alexander John Drysdale (American/New Orleans, 1870-1934), "Twilight on the Bayou", 1906, oil on burlap, signed, titled and dated en verso, 19 1/4 in. x 23 1/4 in., framed; accompanied by copy of certificate of authenticity. (2 pcs.) $10000/15000
Provenance: Jean Bragg Gallery of Southern Art, New Orleans, LA, 2007.

135. George Louis Viavant (American/Louisiana, 1872-1925), "Nature Morte: Pintail Drake", 1913, watercolor on paperboard, signed, dated and inscribed "N.O." lower left, 28 3/4 in. x 21 1/4 in., framed. $20000/30000
Provenance: Acquired from the artist; thence by descent.
Note: Descended in an important New Orleans family, this meticulously detailed watercolor by George Louis Viavant of a pintail drake was acquired directly from the artist and has been maintained in pristine condition. A lifelong New Orleanian, Viavant’s paintings of fresh game from his hunts along the swamps and bayous surrounding the city were his particular forte. Only two artists in Louisiana, Viavant and Achille Perelli, worked predominantly in the nature morte genre, an historic and nationally popular subject matter which seemed a perfect fit given Louisiana’s reputation as a hunter’s paradise with a wide variety of wildlife species. During his career, Viavant successfully invented a tool for modifying a camel-hair brush that allowed him to scrumble the gouache and watercolor until he achieved the exact hues and texture needed in the brief time allowed by the medium. He often spent three to four days on one painting, and his attention to detail accomplished “a completely accurate image in line, texture, and color of the fish and fowl he and his friends hunted throughout his lifetime.” According to Viavant biographer and expert George E. Jordan regarding the pintail drake offered here: "This is Viavant at his finest! Every piece is detailed to perfection! Such a beauty!"
Ref.: Jordan, George E. George L. Viavant: Artist of the Hunt. New Orleans: The Historic New Orleans Collection, 2003.
Neal Auction Company would like to thank George E. Jordan for his assistance with this note.

136. Walter Inglis Anderson (American/Mississippi, 1903-1965), "Floral Composition", watercolor and graphite on paper, unsigned, "Jean Bragg Gallery of Southern Art, New Orleans, LA" label with artist and title on backing, 25 in. x 19 in., framed. $15000/25000
Provenance: Jean Bragg Gallery of Southern Art, New Orleans, LA, 2005.

137. Paul Ninas (American/New Orleans, 1903-1964), "Love and Kisses", graphite on paper, pencil-signed and titled lower right, 11 7/8 in. x 17 1/2 in., framed. $750/1000

138. José-Mariá Cundín (Spanish/New Orleans, b. 1938), "La Oratoria de Don Luis Azcorra" and "Lady in Pink Dress", 1970, 2 oils on board, each signed and dated lower right, "Bienville Gallery, New Orleans, LA" label with artist and title on backing of former, 10 1/2 in. x 8 in. and 9 in. x 5 3/4 in., framed alike. (2 pcs.) $1000/1500
Provenance: Bienville Gallery, New Orleans, LA; The Estate of Caroline P. Ireland.

139. Elizabeth "Eli" Halpin (American/Texas, b. 1977), "Deer", 2011, mixed media on panel, signed and dated en verso, 19 in. x 24 in., unframed. $1000/1500

140. Marie Atkinson Hull (American/Mississippi, 1890-1980), "Tropical Oasis with Palm Trees", oil on masonite, unsigned, 28 in. x 37 3/4 in., framed. $5000/7000
Provenance: Natchez Art Association.

141. Alexander John Drysdale (American/New Orleans, 1870-1934), "Pirogue on the Bayou", oil on burlap laid on board, signed lower right, "Jean Bragg Gallery of Southern Art, New Orleans, LA" label on backing, 12 1/8 in. x 18 1/2 in., framed; accompanied by copy of certificate of authenticity. (2 pcs.) $6000/8000
Provenance: Jean Bragg Gallery of Southern Art, New Orleans, LA, 2008.



142. Frederic Sackrider Remington (American, 1861-1909), "Key West, Florida", 1898, pen and ink on paper, signed and inscribed "Key West" lower left, 14 1/2 in. x 19 1/2 in., framed. $15000/25000
Provenance: Private Collection, New York; Dr. Sheldon Tucker, Houston, TX; Mr. Harry A. Lockwood, Cincinnati, OH; Kennedy Galleries, Inc., New York, NY, Dec. 12, 1973.
Ill.: Allen, Douglas. Frederic Remington and the Spanish-American War. New York: Crown Publishers, Inc., 1971, p. 54.
Note: From a young age, Frederic Remington enjoyed sketching soldiers and cowboys, as well as maintaining an avid interest in journalism. Studying at Yale Art School and the Art Students League of New York, Remington also worked for his uncle's newspaper before moving to the West, where he attempted ranching, owning a hardware store, and operating a saloon. Although these occupations were not his ultimate career, the experiences he gained in the West and the sketches he made allowed him to capitalize on America's interest in western life and create illustrations, drawings, and paintings based on his observations.

Working for newspapers and magazines, Remington became a correspondent, producing sketches and drawings, as well as taking photographs. He gained great commercial success and also began creating bronze sculptures. In 1898, William Randolph Hearst commissioned Remington to cover the Spanish-American War as a war correspondent. This conflict was the result of Cuba attempting to liberate their island from Spanish control. America joined the fight and ultimately defeated Spain, gaining sovereignty over Cuba, Puerto Rico, Guam, and the Philippines. The drawing presented here depicts the soldier encampment of the 25th U.S. Infantry in Key West, Florida, during preparations for the fighting in Cuba. With his careful pen and ink cross-hatching technique, Remington gracefully captured the everyday work of making the camp ready for the upcoming battle.
Ref.: Allen, Douglas. Frederic Remington and the Spanish-American War. New York: Crown Publishers, Inc., 1971.



142A. Frederic Sackrider Remington (American, 1861-1909), "Landscape from The Song of Hiawatha", pen and ink on paper, signed lower left, inscribed "349/Landscape" upper left and "IV Image 83" en verso, 12 1/2 in. x 15 3/4 in., framed. $3000/5000
Provenance: Collection of Houghton, Mifflin and Company, Boston, MA; Kennedy Galleries, Inc., New York, NY, Dec. 12, 1973.
Ill.: Longfellow, Henry Wadsworth. The Song of Hiawatha. Boston, MA: Houghton, Mifflin and Company, 1890, p. 83.Note: Throughout Frederic Remington's career, he had a fascination with Native American life and culture. Having worked in the American West and meticulously sketched and photographed western subjects, Remington soon began creating illustrations and paintings with Native American subject matter. When Henry Wadsworth Longfellow's The Song of Hiawatha was published in 1855 with no illustrations, Remington was inspired to create drawings to accompany the text. Around 1890, his first illustrated edition of the book was published by Houghton, Mifflin, and Company, and the present lot is a pen and ink drawing that was reproduced for Chapter IX - "Hiawatha and the Pearl Feather." This lovely landscape with dappled light on the tree trunks accompanies the verse below and reflects upon on the beauty of Longfellow's words.

On the shores of Gitche Gumee,
Of the shining Big-Sea-Water,
Stood Nokomis, the old woman,
Pointing with her finger westward,
O'er the water pointing westward,
To the purple clouds of sunset.
Fiercely the red sun descending
Burned his way along the heavens,
Set the sky on fire behind him,
As war-parties, when retreating,
Burn the prairies on their war-trail;
- Henry Wadsworth Longfellow

Ref.: Longfellow, Henry Wadsworth. The Song of Hiawatha. Boston, MA: Houghton, Mifflin and Company, 1890.



143. George Ohr Art Pottery Vase, c. 1898-1910, script mark "G E Ohr", yellow and pink ground with green speckled glazed, ruffled rim, h. 3 3/4 in., dia. 3 1/2 in. $2500/3500



144. George Ohr Art Pottery Vase, c. 1895-6, marked "GEO. E. OHR/ BILOXI, MISS", mustard with dark spattering on upper rim, twisting to the midsection, h. 3 1/4 in., dia. 4 in. $2500/3500



145. George Ohr Art Pottery Vase, c. 1897-1900, marked "G. E. OHR/ Biloxi, Miss", dark green metallic glaze, rim folds, h. 3 3/8 in., dia. 3 3/8 in. $2500/3500



146. George Ohr Art Pottery Vase, c. 1898-1910, script mark "G E Ohr", green speckled glaze, collapsed form, h. 3 1/4 in., w. 4 1/4 in., d. 3 7/8 in. $2500/3500



147. George Ohr Art Pottery Vase, c.1885-1906, script mark "Biloxi", red, purple and green glaze, twisted and ruffled form with pinched body, h. 2 7/8 in., dia. 3 1/2 in. $2500/3500

148. Newcomb College Art Pottery Candlestick, 1918, decorated by Sadie Irvine with relief-carved daffodil motif, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator's mark, reg. no. JVI, and shape no. 232, h. 7 1/4 in., dia. 4 1/4 in. $1000/2500



149. Newcomb College Art Pottery Tile/Trivet, 1922, decorated by Henrietta Bailey with relief-carved pinecone motif, matte glaze with blue, green and pink underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, and reg. no. ML1, retains original paper label, dia. 5 3/4 in. $2000/3000

150. Arts and Crafts Wood and Brass Frame, late 19th/early 20th c., unmarked, manner of Newcomb College, rectangular with applied and hammered brass, cast with berry branch and spider web motif, h. 7 in., w. 4 3/4 in. Note: Lacking easel back. $700/1000



151. Newcomb College Art Pottery Vase, 1919, decorated by Sadie Irvine in the "Moon and Moss" landscape design, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. KE26 and shape no. 49, h. 6 1/8 in., dia. 8 1/4 in. $2000/4000



152. Newcomb College Art Pottery High Glaze Low Vase, 1912, decorated by Marie de Hoa LeBlanc with incised lines and iris motif, blue, green and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. FF51 and "Q" for buff clay body, h. 2 1/2 in., dia. 4 in. $1200/1800

153. Newcomb College Art Pottery Vase, 1920, decorated by Anna Frances Simpson with relief-carved daffodil motif, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator's mark, faint Joseph Meyer's potter's mark, reg. no. KT56, and shape no. 223, h. 8 1/4 in., dia. 3 1/4 in.; together with art pottery triangular ashtray from Connie Weiner Estate, c. 1940s, gunmetal glaze over red clay body, base marked "RR/ W", l. 3 1/8 in. (2 pcs.) $1000/1500



154. George Rodrigue (American/Louisiana, 1944-2013), "Louisiana Bayou with Oak", 1970, oil on canvas, signed and dated lower left, signed on stretcher, 25 in. x 30 in., original frame. $25000/35000
Provenance: Acquired from the artist.
Note: Returning to Louisiana from studies at the Art Center College of Design in Los Angeles in 1967, George Rodrigue dedicated himself to capturing his heritage and the landscape of Acadiana in his paintings. Rodrigue determined to depict Louisiana differently from those who had preceded him, and his focus became the oak trees and their relationship to the sky, land and Cajun people. In the stunning work offered here from 1970, the oak tree dominates the composition, and its unique shape against the glowing sky makes this canvas truly stand out among Rodrigue’s earliest landscapes.



155. George Rodrigue (American/Louisiana, 1944-2013), "Louisiana Bayou with Bridge" and "Louisiana Bayou with Cabin", 1970, 2 oils on canvas, each signed lower left, signed, dated and artist stamps en verso, both 8 in. x 10 in., framed alike in original artist frames. (2 pcs.) $15000/25000
Provenance: Commissioned from the artist, 1970.
Note: George Rodrigue’s earliest landscapes in the late 1960s often included additional elements such as cabins and small figures. As he worked to refine his unique vision of Louisiana, he most often abandoned these components in favor of the oak tree alone. The silhouetted oak tree in the background, cropped at the top, and a rich, dark foreground dominated his compositions. As he began to develop local supporters, Rodrigue was introduced to the famous Louisiana architect, A. Hays Town, in the late 1960s, and his advice to the young artist transformed Rodrigue’s approach. Town told him to “treat each painting like a jewel, because if it is precious to you, it will be precious to others as well.” Commissioned in 1970, this rare, early pair of landscapes featuring a cabin and bridge exemplifies Rodrigue’s care and ever-increasing success following this sage advice. At the same time, Rodrigue began to receive critical acclaim for his work. The Louisiana State Art Commission sponsored a Rodrigue exhibition at the Louisiana State Museum in the Old State Capitol in Baton Rouge in 1970, featuring seventy oak tree paintings. His work was also featured in an exhibition at the Beaumont Art Museum, now the Museum of Southeast Texas, which opened to glowing reviews in August of 1971.
Ref.: Rodrigue, Wendy. “Remembering Lafayette’s Advocates for the Arts, Circa 1969.” Musings of an Artist’s Wife. June 22, 2010. www.wendyrodrigue.com. Accessed May 19, 2019.

156. George Rodrigue (American/Louisiana, 1944-2013), "A Warm Glow on a Dark Night", 1992, oil on linen, signed lower left, signed and dated en verso, 40 in. x 30 in., framed. $50000/80000

157. Theora Hamblett (American/Mississippi, 1895-1977), "Tree Jumping", 1976, oil on linen, signed and dated lower right, 20 in. x 16 in., framed; together with framed notes from artist. (2 pcs.) $15000/25000

158. William Hemmerling (American/Louisiana, 1943-2009), "Waiting in Line", oil on panel, signed lower right, 40 in. x 48 1/4 in., original frame. $6000/8000
Note: Chicago-born William Hemmerling moved to Ponchatoula, Louisiana as a young man. While he had a lengthy creative career as a decorator for Sears, his calling as an artist would not begin until 2002 after his retirement. His time as a “painter” (as he would refer to himself) was short-lived yet impactful and began at the Louisiana Furniture and Art Gallery in Ponchatoula when he was invited to display his artwork after he remarked to the proprietors: “I think you need more color on your walls.”
Friend and fellow artist, George Rodrigue, described him as such: “He paints from his heart, from his soul, he really paints what he feels...He has no boundaries. I think he's a free spirit. He's real sincere about himself. And the paintings are honest and straightforward. It's beautiful art." This open sincerity and wholesomeness is well reflected in the important painting offered here. School children waiting in line are depicted with sensitive grace, and the innocence of the artist and his intent are mirrored in the style and subject matter, resulting in a touching portrayal of the purity of childhood.
Ref.: Rose, Chris. “Louisiana folk artist Bill Hemmerling dies at home in Ponchatoula.” The Times-Picayune. June 16, 2009. www.nola.com. Accessed: May 20, 2019.



159. William Hemmerling (American/Louisiana, 1943-2009), "Sweet Oliver", 2005, mixed media on panel, signed lower right, titled on frame, signed, dated and inscribed en verso, 30 in. x 16 in., original frame. $3000/5000



160. William Hemmerling (American/Louisiana, 1943-2009), "Sweet Olive", oil on panel, signed twice lower right, titled upper and lower center, 36 1/2 in. x 17 in., unframed. $3000/5000



161. Marie Atkinson Hull (American/Mississippi, 1890-1980), "Mississippi River Scene", oil on canvas, signed lower left, inscribed "Landscape M. Hull" on stretcher, 26 in. x 36 in., framed. $7000/9000
Provenance: Natchez Art Association.



162. George Rodrigue (American/Louisiana, 1944-2013), "My Moon My Life", 1990, oil on canvas, signed lower left, signed, titled and dated en verso, 30 in. x 24 in., original frame. $50000/80000
Provenance: Acquired from the artist, New Orleans, LA, 1991.
Ill.: Rodrigue, George. Blue Dog. New York: Viking Studio Books, 1994, ch. 9.
Note: In 1990, George Rodrigue filled his New Orleans gallery with Blue Dog paintings for Super Bowl XXIV, attracting the attention of both collectors and the national media. These early paintings in the series originated from and still bore striking similarity to their loup-garou predecessors, with textured fur and a light blue-grey color. The Blue Dog remained within the Louisiana landscape of Rodrigue’s Cajun series, however, he began for the first time to think of them as something outside of the bayous and swamps. A phenomenon had begun, and the early Blue Dogs very soon shifted into a number of different series as the artist explored new directions. “My Moon My Life” offered here represents the brief, but highly important, transitional moment for Rodrigue, bridging the Cajun series and Blue Dog series.
“My Moon My Life” also served as the album cover of “Dans Le Creux Du Bois (In the Deep of the Woods)” by John “The Cajun Balladeer” DuBois. Born in Vermillion Parish, DuBois is credited with preserving many forgotten classic Cajun and French tunes, passed on to him by his grandparents and childhood music teacher. He recorded Cajun ballads for the Folk Music Archives in the Library of Congress and was a popular festival performer. A friend of Rodrigue, DuBois provided the music for the opening party of Galerie Blue Dog in Carmel-by-the-Sea, California in 1991 while Chef Paul Prudhomme catered for the crowds.
Ref.: Rodrigue, Wendy. “Blue Dog: The Ghost of Tiffany, 1990-1992.” Musings of an Artist’s Wife. Nov. 1, 2009. www.wendyrodrigue.com. Accessed May 19, 2019.
Neal Auction Company would like to thank Wendy Rodrigue for her assistance with this note.

163. George Rodrigue (American/Louisiana, 1944-2013), "In My Secret Garden", 1997-1998, acrylic on canvas, signed lower left, 24 in. x 30 in., framed. $20000/30000
Ill.: Rodrigue, George. Blue Dog Man. New York: Stewart, Tabori & Chang, 1999, pp. 106-107.
Note: The painting offered here is featured prominently in Blue Dog Man, a landmark book about George Rodrigue that sold more than 60,000 copies in its first two months. In the book, Rodrigue is quoted about this painting: “In My Secret Garden was inspired by my wife, who told me that she has a secret garden--- a private sanctuary all her own. As I peer over the wall into her world, I am touched to see that her favorite thing to do is to plant blue flowers for me.”
Ref.: Rodrigue, George. Blue Dog Man. New York: Stewart, Tabori & Chang, 1999, pp. 106-107.

164. Theora Hamblett (American/Mississippi, 1895-1977), "Brother and Sister", 1976, oil on canvas, signed and dated lower right, inscribed en verso, 16 in. x 12 in., framed; accompanied by copy of letter from the artist. $8000/12000

165. William Robinson Leigh (American, 1866-1955), "The Water Girl of Walpi", gouache on paper, signed lower left, 7 7/8 in. x 5 3/4 in., framed; together with a first edition signed copy of Leigh, W.R. Frontiers of Enchantment: An Artist's Adventures in Africa. New York: Simon and Schuster, 1938. (2 pcs.) $5000/8000
Note: Trained at the Royal Academy in Munich, William Robinson Leigh returned to the United States and began working as a magazine illustrator. Although he lived in New York primarily, Leigh often traveled, particularly to the American West to sketch scenes for his illustrations and paintings. He also visited Africa in 1926 and wrote a book based on his experiences there titled Frontiers of Enchantment: An Artist's Adventures in Africa.
Leigh enjoyed writing about and painting western scenes, including the Grand Canyon, cowboys, and Native Americans; he was particularly interested in the Hopi and Navajo nations. In the painting presented here, Leigh portrays a young woman carrying a water vessel in a cloth carrier slung over her back. The Hopi people of Walpi, Arizona have lived in that area since 900 AD, and they have maintained their traditions, such as carrying water in this manner—"Hopi women preferred this method to balancing pottery jars on their heads as the women at Acoma and Zuni did." Many of the villages on the mesa tops are still without running water today, and Leigh's portrayal of an important cultural tradition helps to teach others about the Hopi nation. The beautiful brushwork of the cliffs, woman's clothing, and reflection on the surface of the water are well executed and exhibit Leigh's skill.

166. C. Ford Riley (American/Florida, b. 1952), "Pathway through the Trees", oil on board, signed lower left, 14 in. x 11 in., framed. $3000/5000
Note: Known as the "Audubon of the 1980s," C. Ford Riley has spent his career documenting the wildlife and their habitats surrounding his hometown of Jacksonville, Florida. With a particular passion for birds, Riley meticulously sketches the animals and their environment before beginning a painting, and he then uses layers of washes and paint to add depth to his work. Although the paintings look extremely realistic, Riley maintains that he includes a "multitude of brush strokes which are probably more commonly associated with Impressionism." In the painting presented here, Riley's technique is employed to depict a sun-dappled pathway through a wooded area of Florida.

167. Marie Atkinson Hull (American/Mississippi, 1890-1980), "Caranac [sic] July 21st", 1929, watercolor on paper, unsigned, pencil-titled and dated lower right, 17 1/16 in. x 13 3/8 in., framed. $1200/1800
Provenance: Natchez Art Association.

168. Alexander John Drysdale (American/New Orleans, 1870-1934), "City Park", oil wash on board, signed lower right, "Jean Bragg Gallery of Southern Art, New Orleans, LA" label with artist and title on backing, 11 in. x 32 in., framed; accompanied by copy of certificate of authenticity. (2 pcs.) $2000/3000
Provenance: Jean Bragg Gallery of Southern Art, New Orleans, LA, 2008.



169. Marie Atkinson Hull (American/Mississippi, 1890-1980), "Old Houses in France (Scene at Cenca [sic])", 1929, oil on canvas, signed lower right, signed, titled, dated and inscribed en verso, 25 in. x 30 in., framed. $3000/5000
Provenance: Natchez Art Association.
Ill. (closely related): Levingston, Bruce. Bright Fields: The Mastery of Marie Hull. Jackson: The University Press of Mississippi, 2015, p. 81.

170. George Rodrigue (American/Louisiana, 1944-2013), "Louisiana Oak (Oak Before The Rain)", 1989, oil on canvas board, signed lower left, signed, titled and dated en verso, 8 in. x 10 in., original frame. $8000/12000
Provenance: Acquired from the artist, New Orleans, LA, 1991.

171. Hunt Slonem (American/Louisiana, b. 1951), "Ocelots", 1988, oil on canvas, signed and dated en verso, 40 1/8 in. x 30 in., unframed. $6000/9000

172. Ashley Longshore (American/New Orleans, 20th c.), "Ashley Self-Portrait with Flowers and Butterflies", acrylic and mixed media on gallery-wrapped canvas with heavy resin, unsigned, 24 in. x 24 in., unframed; accompanied by copy of certificate of authenticity. $6000/8000



173. Marie Atkinson Hull (American/Mississippi, 1890-1980), "Green Abstract", oil on board, signed lower right, 19 in. x 27 in., framed. $12000/18000
Provenance: Acquired from the artist, c. 1960s.



174. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), "Vase with Flowers", 1987, mixed media on wood, signed and dated on underside, h. 30 in. $5000/8000
Note: This delightful painted wood sculpture by Ida Kohlmeyer is part of the same series as the monumental public work entitled “Box of Artificial Flowers #6” that was recently installed at the intersection of Poydras Street and Loyola Avenue in New Orleans. Kohlmeyer’s playful style and mastery of color is well displayed in this intricate design. True to her other sculptural masterpieces, this particular work explores perspective and dimension as each angle reveals a new and exciting composition. As Michael Plante noted: “Because a single color scheme or decorative element seldom exists on more than one plane, the colors, patterns, and even the profile of the given piece change depending upon the angle from which it is viewed."
Ref.: Plante, Michael. Ida Kohlmeyer – Systems of Color. New Orleans: Newcomb Art Gallery, 2004, p. 29.
Neal Auction Company would like to thank Jane Lowentritt for her assistance with this note.

175. Jennifer Smith Rogers (American/South Carolina, b. 1973), "St. Michael's Glory", 2007, oil on linen, signed lower left, signed, titled, dated and inscribed en verso, 34 in. x 24 in., framed. $2500/3500
Note: Charleston native Jennifer Smith Rogers often paints plein-air. Whether capturing the reoccurring themes of expansive skies or the city rooftops of Charleston, as seen in the work offered here, she strives “to capture a dramatic sense of light and mood.” Featured prominently in the scene depicted here is St. Michael’s Episcopal Church, built in the 1750s, on Broad and Meeting Streets. While Rogers has depicted locations worldwide in her work, she finds herself routinely drawn back to the familiarity of the Lowcountry and her hometown. Rogers' broad, impressionistic brushstrokes of the sky and clouds at sunset also capture her fascination with both natural and artificial light sources reflected on a cityscape.
Ref.: Rogers, Jennifer Smith. “Artist Statement." Anglin Smith Fine Art. http://anglinsmith.com/artists/jennifer-smith-rogers/. Accessed May 15, 2019.



176. William Dunlap (American/Mississippi, b. 1944), "Off the Interstate - Brown Sage - Middle South", 1978, mixed media on paper diptych, signed, titled and dated lower margin, each 24 in. x 36 in., overall 24 in. x 72 1/2 in., framed alike. (2 pcs.) $3000/5000

177. George Rodrigue (American/Louisiana, 1944-2013), "It's Good to be the King", 1994, acrylic on canvas, signed lower left, 30 in. x 24 in., framed. $30000/50000
Ill.: Rodrigue, George and Lawrence S. Freundlich. Blue Dog. New York: Viking Studio Books, 1994, epilogue.
Note: George Rodrigue had a long history with Mardi Gras, first as a child entering costume competitions in his hometown of New Iberia, Louisiana and later in the 1970s declaring himself the tongue-in-cheek King of Mardi Gras in Lafayette. Outfitted in full regalia, Rodrigue hosted an annual and infamous social gathering for the passing of the parades and built a viewing platform in front of his house on Jefferson Street.
“I displayed a huge banner that said ‘The Real King.’ Two parades passed my house on Mardi Gras Day. The party started small – just me and Tiffany [the original model for the Blue Dog] on the platform. Within three years we had 500 people, all throwing custom-designed Rodrigue doubloons.”
- George Rodrigue
In 1994, Rodrigue ruled as the official king of Washington Mardi Gras. The Mystick Krewe of Louisianians is comprised of Louisiana’s congressional delegation and each year hosts a private Mardi Gras celebration for 5,000 guests in Washington, D.C. The three-day event features Louisiana food, music, festival queens, parades, and an annual royal court. Rodrigue is still remembered as one of the greatest kings in the over seventy year history of the celebration.
“It’s Good to be the King” from 1994 commemorates Rodrigue’s reign of Washington Mardi Gras, while drawing inspiration from his lifetime of celebrating the holiday. This colorful self-portrait of the artist includes a disco-inspired regalia, gold medallion harkening to his celebrations in Lafayette and the iconic Blue Dog so associated with the artist situated within the Louisiana landscape Rodrigue always called home.
Ref.: Rodrigue, Wendy. “All Hail King George.” Musings of an Artist’s Wife. Feb. 19, 2012. www.wendyrodrigue.com. Accessed May 19, 2019. Rodrigue, Wendy. “Who Dat!...Plus Voodoo, Cow Heads, and DC Mardi Gras.” Musings of an Artist’s Wife. Jan. 25, 2010. www.wendyrodrigue.com. Accessed May 19, 2019.
Neal Auction Company would like to thank Wendy Rodrigue for her assistance with this note.



178. George Rodrigue (American/Louisiana, 1944-2013), "It's Been a Very Long Day", 1997, oil on canvas, signed lower right, signed, dated and inscribed en verso, artist label with title and artist stamp on stretcher, 24 in. x 20 in., framed. $30000/50000

179. Lisa Di Stefano (American/Louisiana, b. 1959), "Untitled (Landscape)", oil on gallery-wrapped canvas, unsigned, 96 in. x 72 in., unframed. $5000/8000
Exh.: "Louisiana Landscapes", The Gallery at Manship Theatre, Baton Rouge, LA, 2012.
Note: Baton Rouge artist Lisa Di Stefano draws inspiration from the Louisiana landscape, not only its beauty and atmosphere, but also its struggles. To represent the loss of wetlands and barrier islands, her landscapes have the feeling of dissolving along the edges with fragmented foliage. Low horizon lines allow for expansive skies and bold planes of color, particularly evident in the large-scale canvas offered here. Di Stefano’s skill in abstraction and masterful use of color are apparent throughout her paintings. A founding member of Studio 801, an artist cooperative in Baton Rouge, Di Stefano is also an artist-in-residence and Membership Director of the NUNU Arts and Culture Collective in Arnaudville, Louisiana.
Ref.: “Lisa Di Stefano.” Claire Elizabeth Gallery. www.claireelizabethgallery.com. Accessed May 19, 2019. “Lisa di Stefano.” Ann Connelly Fine Art. www.annconnelly.com. Accessed May 19, 2019.
Neal Auction Company would like to thank Claire Thriffiley for her assistance with this note.

180. Mark Kelvin Horton (American/South Carolina, b. 1960), "Golden/Silent Marsh", oil on canvas, signed lower right, 40 in. x 30 in., framed. $1800/2500
Note: Mark Kelvin Horton was born in North Carolina and spent eighteen years in New York City working in the design and marketing world. Throughout his time in New York, he would paint, sketch and visit museums to study the old masters. In 2001, Horton left the city for South Carolina to devote his life to art. During his many trips to museums, his discovery of George Inness, Hermann Herzog and Edward Steichen drew him to landscape and led to the decision to focus on the genre in the South. When painting a landscape, Horton’s aim is to study the “full 360-degree scope of a place” and eschew a literal interpretation to focus instead on a simple, yet dramatic moment—taking a slice of a landscape to capture its spirit and its relation to human experience. As evidenced in “Golden/Silent Marsh” offered here, light, its effect on objects and how that light can influence one's perspective is of great interest to the artist when determining this defining moment of a landscape.
Ref.: Amber, Adam. “Coastal Landscapes.” Wrightsville Beach Magazine. Mar. 2016. www.wrightsvillebeachmagazine.com. Accessed May 16, 2019

181. Walter Inglis Anderson (American/Mississippi, 1903-1965), "Pelican Soaring", linocut on paper mounted on board, unsigned, sheet 20 3/16 in. x 60 3/4 in., framed. $1200/1800
Ill.: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy: The Block Prints of Walter Anderson. Jackson, MS: Jackson University Press of Mississippi, 2007, p. 70.

182. Lisa Di Stefano (American/Louisiana, b. 1959), "Untitled (Color Lilies on White Background)", oil on gallery-wrapped canvas, signed on left edge and en verso, 36 in. x 36 in., unframed. $2000/3000

183. Lisa Di Stefano (American/Louisiana, b. 1959), "Untitled (Landscape)", oil on gallery-wrapped canvas, initialed and titled en verso, 30 in. x 40 in., unframed. $2000/3000

184. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), "Untitled (Abstract Composition)", oil on masonite, signed lower right, 42 in. x 48 in., framed. $12000/18000
Note: This significant Ida Kohlmeyer painting is remarkable for having been painted most likely just before Kohlmeyer met and studied with Hans Hoffman in 1956, making it one of her earliest ventures into abstraction. The neutral palette and expressionistic brushstrokes act as a precursor to her later explorations in color blocks and formations as influenced by her friend and mentor, Mark Rothko, and also demonstrate an artistic kinship to her sister and fellow beloved artist, Mildred Wohl, whose works often explored a similar color palette and aesthetic.
Neal Auction Company would like to thank Jane Lowentritt for her assistance with this note.



185. Darrel Austin (American/Connecticut, 1907-1994), "Redhead", 1963, oil on canvas, signed upper left, dated upper right, partial "Perls Galleries, New York, NY" label with artist, title and date on stretcher, 10 in. x 8 in., framed. $2000/3000
Provenance: Perls Galleries, New York, NY; The Estate of Caroline P. Ireland.
Note: Darrel Austin was born in Raymond, Washington and raised in Portland. He started his art career by completing murals for the Works Progress Administration at the University of Oregon medical school. After a solo exhibition in Hollywood in 1938, Austin moved to New York City where art dealer Klaus Perls discovered his work and represented him for the rest of his life. The work offered here is characteristic of Austin's enchanted landscapes in which he often painted a central female figure or animal within a deeply wooded setting. The redheaded woman and the background are painted with a palette knife in a technique often utilized by Austin and reminiscent of the style of artist Albert Pinkham Ryder. Ref.: “Darrel Austin, 88, Visionary Painter of Mythical Scenes”. New York Times. Aug. 20, 1994. https://www.nytimes.com/1994/08/20/obituaries/darrel-austin-88-visionary-painter-of-mythical-scenes.html. Accessed on May 15, 2019.



186. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), "Untitled (Still Life with Ceramics and Oranges)", 1980, oil on canvas, signed and dated lower right, 49 in. x 49 in., framed. $15000/25000
Provenance: The Estate of Caroline P. Ireland.
Note: “Weak representational art is art tyrannized by nature. Weak abstract art squanders itself formlessly in its own emotionalism… a painted apple, no matter how much magic realism is brought to bear upon it, is abstraction if only because of the transposition it undergoes in being made of another substance.” – Ida Kohlmeyer
In the late 1970s and early 1980s, Ida Kohlmeyer reached an artistic impasse. In order to overcome this hurdle, she created a small group of paintings revisiting various themes both traditional and innovative. The painting offered here, an abstracted still life featuring oranges and ceramics, is one of a handful of canvases created in that time period and represents a fascinating and nostalgic return to representational painting long after Kohlmeyer had abandoned it in favor abstraction. Her abstract symbolism, well-developed by this point, is carried into the classic subject matter in a way that makes the canvas instantly familiar as part of Kohlmeyer's unique visual language despite the inclusion of recognizable objects.
Ref.: Marion Koogler McNay Art Institute and Fort Wayne Museum of Art. "Paintings by Ida Kohlmeyer." San Antonio, TX: Press of Ozzie Baum, 1968.
Neal Auction Company would like to thank Jane Lowentritt for her assistance with this note.

187. George Bauer Dunbar (American/New Orleans, b. 1927), "Coin du Lestin", gold leaf over red and black clay on board, signed lower right, 48 in. x 42 in., framed. $18000/25000

188. George Bauer Dunbar (American/New Orleans, b. 1927), "Triangular Composition", 1971, silver leaf on board, signed and dated mid-left, inscribed "No 25" en verso, 11 1/4 in. x 15 1/8 in., framed. $2500/3500
Provenance: The Estate of Caroline P. Ireland.

189. George Valentine Dureau (American/New Orleans, 1930-2014), "Portrait of Man with Arms Crossed", mixed media on paper, signed lower center, sight 39 in. x 29 in., framed. $2500/3500
Provenance: The Estate of Caroline P. Ireland.

190. Attributed to George Bauer Dunbar (American/New Orleans, b. 1927), "Dancers", 1950, double-sided oil on board, signed and dated lower right, signed on frame, 9 1/4 in. x 12 7/8 in., framed. $300/500
Provenance: The Estate of Caroline P. Ireland.

191. Enrique Alferez (Mexican/New Orleans, 1901-1999), "Recumbent Nude", 1987, charcoal and graphite on paper, signed, dated and inscribed lower right, 28 3/4 in. x 39 1/2 in., unframed. $2000/3000



192. Tony Bass (American/Texas, b. 1943), "Figurative Abstraction on Black Ground", 2010, acrylic and mixed media on canvas, signed and dated en verso, 60 in. x 48 in., unframed. $400/800
Provenance: Acquired from the artist.



193. Lower Mississippi Valley Cherrywood Petite Armoire, early 19th c., cove-molded cornice, paneled doors, shelf interior, medial belt of drawers, urn-form legs, ball feet, h. 70 5/8 in., w. 47 1/2 in., d. 19 1/2 in. $2500/3500
Provenance: Schwitz Collection, Franklin, LA.
Note: The exceptionally rare armoire shown here features distinctive urn-shaped feet that appear to be larger versions of similar feet found on a group of Creole-style banquet tables illustrated in Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835 (figs. 44-46). The overall form of this armoire is closely related to a cherrywood armoire found in St. Landry Parish with similar recessed-panel doors and a medial belt of drawers. Interestingly, the St. Landry Parish example has beehive feet of the same proportions as the feet noted on the present lot.
Ref.: Holden, Jack D., et al. Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835. New Orleans: The Historic New Orleans Collection, 2010, p. 212, fig. 115; pp. 274-275, figs. 44-46.



194. Fine American Federal Mahogany and Birdseye Maple Bowfront Chest of Drawers in the Hepplewhite Taste, c. 1800, top with inlaid edge above four graduated drawers, original brasses, shaped skirt, flared "French" feet, h. 37 in., w. 41 1/2 in., d. 23 in. $800/1200
Provenance: Labeled "Warfield family of Fall River, Mass".

195. American Classical Carved Mahogany Méridienne, early 19th c., Philadelphia, scrolled back with blocked lozenge upright, oval arm rest, circular low arm with lozenge panel on lobed legs, disc feet, on casters, h. 34 in., w. 78 in., d. 21 in. $1000/1500
Provenance: Inglewood, Natchez, Mississippi.



196. American Late Federal Carved Mahogany Sideboard, early 19th c., possibly Duncan Phyfe, New York, arched backsplash, bowfront top flanked by raised plinths with drawers, figured paneled doors below, flanking small drawers, bottle drawers, long drawer above recessed cabinet doors, reeded tapered legs, brass ball feet, h. 50 1/2 in., w. 76 1/2 in., d. 26 1/2 in. $2500/3500
Note: A nearly identical Duncan Phyfe sideboard dated to 1807 was illustrated in The Antiquarian, March 1930.
Ref.: Kenny, Peter M. et al. Duncan Phyfe: Master Cabinetmaker in New York. New York: The Metropolitan Museum of Art, 2011, p. 78, fig. 78.



197. George III Satinwood-Inlaid Mahogany Camelback Settee, late 18th/early 19th c., serpentine crest rail, scrolled arms, tapered legs, spade feet, h. 38 in., l. 71 in., d. 25 1/2 in. $1500/2500
Provenance: The Stanley Weiss Collection, Providence, RI.



198. Regency Brass-Inlaid Rosewood Sofa Table, early 19th c., drop-leaf top, frieze drawer, columnar standard, turned plinth, hipped sabre legs, foliate cuffs, casters, h. 28 1/4 in., w. 36 3/4 in., d. 26 in. $1000/1500
Provenance: The Stanley Weiss Collection, Providence, RI.

199. Pair of Louis XV-Style Bronze-Mounted and "Zebra" Lacquered Petite Commodes, serpentine top, conforming case with drawers, cabriole legs, sabots, h. 29 in., w. 19 in., d. 13 in. $800/1200

200. French Provincial Carved Walnut Commode, late 18th/early 19th c., serpentine top, three cartouche paneled drawers, above two conforming long drawers, shaped base, cabriole legs, pied de biche feet, h. 34 in., w. 51 in., d. 21 in. $3000/5000

Provenance: The Estate of Caroline P. Ireland.


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