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Information below is the lot/description information from our Fall Estates Auction, September 15 & 16, 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.

You are at > Lots 101-200

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101. Impressive Portuguese Rococo Revival First Standard (.916) Silver Table Garniture, late 19th c., by Leitao & Irmao, Lisbon, marked, incl. two pairs of ten-light candelabra, an oval jardinière on plateau and a pair of circular jardinières on plateaus, the jardinières with frogs and liners. (10 pcs. total), candelabra h. 22 in., w. 17 in., and h. 24 in., w. 17 in.; circular plateau h. 2 in., dia. 19 in.; circular jardinière h. 4 1/4 in., dia. 13 in.; oval plateau h. 2 in., w. 30 in., d. 22 in.; oval jardinière h. 6 1/2 in., w. 18 in., d. 12 in. $25000/35000
Provenance: Ambassador Jefferson Caffery (1886-1974); Russell Caffery; 1978 Paul and Lulu Hilliard University Art Museum; Deaccessioned 2018; Sold to Benefit the Museum's Acquisition Fund.
Note: Louisiana native Jefferson Caffery (1886-1974), was a distinguished American diplomat whose career spanned 43 years under eight U.S. presidents. He served as U.S. Ambassador to El Salvador (1926-1028), Columbia (1928-1933), Cuba, (1934-1937), Brazil (1937-1944), France (1944-1949) and Egypt (1949-1955). After his retirement from foreign service he lived in Rome where he was the honorary private chamberlain to Popes Pius XII, John XXIII and Paul VI.
Ref.: Dictionary of Louisiana Biography.

102. Fine Pair of Charles X Gilt and Patinated Bronze Five-Light Sconces, 19th c., bell form standard, fluted arms ending in masks, electrified, h. 11 1/2 in., w. 11 in., d. 12 1/2 in. $800/1200

103. Continental Polychrome-Decorated Carved Wood Figure of a Saint, late 17th/early 18th c., possibly Saint Cecilia, h. 48 in., w. 19 in. $1500/2500
Provenance: Whitehall Antiques, Chapel Hill, NC, Mar. 2012.

104. French Provincial Carved Walnut Commode, 18th c., molded top, two short drawers over two long drawers, shaped apron, block feet, h. 35 in., w. 64 in., d. 28 in. $2500/3500



105. Louis XVI Mahogany Table en Échelle, c. 1795, inset tooled leather top slides open to a metamorphic library ladder, opposing ends with frieze drawer and one faux drawer, stop-fluted legs, casters, h. 30 in., w. 42 in., d. 23 3/4 in. $4000/6000
Provenance: Sotheby's New York, Nov. 18, 2010, lot 165.
Note: Innovative and metamorphic tables, such as the table en échelle or "ladder table" in the present lot, became prevalent among French furniture styles during the 18th century through pieces made by royal artisans, such as Jean Francois Oeben’s mechanical writing table for Madame du Pompadour, the mistress of King Louis XV.
In the late 18th century Louis XVI taste, the table offered here was likely influenced by similar English forms, such as the metamorphic library table designed by Thomas Sheraton in 1793. At first glance, this table appears to be a close match to Sheraton’s design, however, several aspects of the table are distinctively French, including the brass hardware and stop-fluting along the tapered legs.
Ref.: The Metropolitan Museum of Art. "French Furniture of the Eighteenth Century: Case Furniture." metmuseum.org/toah/hd/cfurn/hd_cfurn.htm. Accessed Aug. 15, 2018; Cooper Hewitt, Smithsonian Design Museum. "Metamorphic Library Table." collection.cooperhewitt.org/objects/18456983/. Accessed Aug. 15, 2018.

106. Late Régence Carved Beechwood Fauteuil à la Reine, probably late 18th/early 19th c., shell-carved crest rail, foliate carved arms, serpentine seat rail, cabriole legs, scrolled toes, h. 40 in., w. 25 in., d. 23 in. $1000/1500
Provenance: Bremermann Designs, 3943 Magazine St., New Orleans.

107. Empire Bronze-Mounted Mahogany Fauteuil, early 19th c., paneled crest rail, padded back, scrolled reeded acanthus-carved arms, rounded seat rail, flared tapered legs, h. 38 1/2 in., w. 25 in., d. 18 in. $1200/1800

108. George Valentine Dureau (American/New Orleans, 1930-2014), "Those Who Share Life", 1991, oil on canvas, signed and dated lower left, 52 in. x 42 in., framed. $4000/6000



109. Jose-Maria Cundin (Spanish/New Orleans, b. 1938), "Las Visitaciones de Palemon El Estilita", 1978, oil on canvas, signed and dated lower right, signed, titled and dated en verso, "Covo de longh Gallery" stamp en verso, 60 in. x 50 in., framed. $20000/40000
Provenance: Covo de Iongh Gallery, Houston, TX, 1978.
Note: In "Las Visitaciones de Palemon El Estilita" dating from 1978, Jose-Maria Cundin uses a soft pastel palette to convey the tale of Palemon the Stylite, the eponymous main character of the poem, "Palemon El Estilita" by Colombian writer, Guillermo Valencia Castillo (1873-1943). The poem recounts the life of an early Christian hermit who lived atop a granite column. Though he had many followers who would listen to his proselytizing and even bring him food, no amount of beckoning could tear the devout ascetic from the top of his pillar for a number of years.
Cundin’s interpretation of the story showcases an array of Palemon’s visitors vying for space atop the column with him, some even suspended in the air. Using an ethereal pink backdrop, Cundin gives the impression that the column reaches the heavens. Alas, the long distance from Earth proves no respite from the metaphorical secular turbulence depicted on the canvas. The crowded scene delivers a visual feast of sensuous distractions: a man screaming through a blowhorn, a large po-boy sandwich (likely a humorous nod by the artist to his adopted hometown of New Orleans), animals such as a cat and pig, and a group of loud revelers. All of these characters dominate the composition, yet in the center is Palemon, pious in mid-sermon, oblivious to the commotion in which he is entrenched.
Neal Auction Company would like to thank Jose-Maria and Marion Cundin for their assistance with this catalogue note.

110. Antonio Marti (Spanish/New Orleans, b. 1813), "Portrait of Mme. Felix Grima, neé Marie Sophie Adelaide Montegut (1811-1876)", 1852, oil on canvas, signed and inscribed "Hecho por Antonio Marti sordo-mudo, 1852" lower right, 31 3/4 in. x 25 1/2 in., giltwood frame. $4000/6000
Provenance: Descended in the family of the sitter.
Note: Antonio Marti (also called Antonio Martí i Brach), a native of Barcelona, had a natural affinity for the visual arts from an early age, enrolling at the Escola Llotja (School of Arts in Barcelona) at the age of fifteen and winning multiple prizes over his nine years at the school, despite the fact that he was both deaf and mute. From 1837 to 1840, Marti enrolled in La Escuela de Sordomudos (School of the Deaf and Dumb) in order to overcome his disability and function within the art world as a practicing artist. At the time, his teachers praised his work, noting that after less than a year Marti "knows the idea of a thousand three hundred thirty significant words." Certainly this education aided Marti’s career in Spain and overseas, including New Orleans, where he is known to have painted at least two portraits, including that of Senora Beltran now in the collection of the Louisiana State Museum.
Marti’s beautifully rendered portrait of Adelaide Montegut Grima offered here highlights her beauty, as well as her fashionable 1850s clothing and jewelry. The granddaughter of Dr. Joseph Montegut (whose family was painted by José Francisco Xavier de Salazar y Mendoza), Adelaide Montegut married Felix Grima in 1831. An earlier portrait of Madame Grima and a portrait of her husband, both attributed to Jacques Amans, are illustrated in the Louisiana Portraits book. The couple’s home, which was designed by William Brand and built the year of their marriage, is now called the Hermann-Grima House and is located at 820 St. Louis Street.
Ref.: Bruns, Mrs. Thomas Nelson Carter. Louisiana Portraits. New Orleans: Colonial Dames, 1975; Pradillo y Esteban, Pedro Jose and Elena Garcia Esteban. "Descubrimiento y restauracion de La Virgen de la leche, una obra del pintor Antonio Marti i Brach, sordomudo," RACBASJ, Butlleti XXIX, 2015; Ricao, Antonio Gascon and Jose Gabriel Storch de Gracia y Asensio. "La Escuela de Sordomudos de La Junta de Comercio de Barcelona (1838-1840)." Barcelona, 2004.



111. Marc Chagall (Russian/French, 1887-1985), "Le Luxembourg", 1953, oil on paper mounted to canvas, signed and dated lower left, signed en verso of canvas, inscribed "15" and "HT698" and label with inventory number, dimensions and date on stretchers, 25 3/4 in. x 20 in., ornate frame; accompanied by certificate (no. 2004036) from the Comité Marc Chagall. $1,000,000/1,200,000
Provenance: Estate of Vava Chagall; Private Collection, New York; Mirek Klabal, New York; Private Collection, Savannah, GA, 2005.
Note: The Comité Marc Chagall has kindly confirmed the authenticity of this work. "Le Luxembourg" captures the intrinsically dream-like qualities of Marc Chagall’s work from a time when themes of love, beauty, and intense personal happiness dominated his canvases. "I thought that only love and uncalculating devotion towards others will lead to the greatest harmony in life and in art of which humanity has been dreaming so long. And this must, of course, be included in each utterance, in each brushstroke, and in each colour." - Marc Chagall (Baal-Teshuva, p. 208)
Chagall first trained in his hometown of Vitebsk, and then at the Zvantseva Academy in St. Petersburg under Leon Bakst. Here, Chagall was introduced to the work of artists such as Manet, Monet, Cezanne, and Matisse, which inspired him to move to Paris in 1910 to continue developing his artistic technique. Returning to Vitebsk in 1914 to marry his longtime fiancé, Bella Rosenfeld, Chagall would remain confined to Russia throughout World War I, working as a map maker, theater decorator, and expanding his painting oeuvre to include murals.
Determined to begin again in France after the war, in 1923 Chagall collaborated with the French art dealer Ambroise Vollard to create a series of etchings illustrating famous books, including Biblical scenes. During these post-war years, Chagall’s name and works became well-known, and the artist exhibited in France and the United States. Although the rise of fascism in Europe was quickly becoming a threat, Chagall and his family continued living and working in France throughout the 1930s. With the Nazis in Germany on the rise, Chagall was particularly at risk once his works were removed from German museums and included in the "degenerate art" exhibition in Munich in 1937.
Ultimately, the Chagalls fled Europe to America in 1941, crossing from France to Spain to Portugal and sailing from Lisbon just days before emigration from Nazi occupied territories was officially banned. In New York, Henri Matisse’s son, Pierre, had a gallery and offered space to Chagall for exhibitions. Chagall was not the only artist in exile from Europe; Fernand Leger, Piet Mondrian, Marcel Duchamp, Jacques Lipchitz, Andre Breton, Alexander Calder, and art historian Meyer Schapiro were all Chagall’s colleagues who had escaped the Nazi regime. Although he enjoyed spending time in the Lower East Side with its large Jewish population, Chagall never felt quite at home in New York and longed for France. Working in New York for only three years, Chagall and his wife, Bella, planned a return to Paris as quickly as possible following the conclusion of the war. Before their departure however, Bella tragically fell ill and died in September of 1944.
Following the loss of Bella and dissolution of his subsequent relationship with Virginia Haggard McNeil with whom he finally returned to France, Chagall’s daughter, Ida, introduced him to Valentina "Vava" Brodsky, who became his second wife in July of 1952. Vava, who Chagall called "my joy and my delight," handled his business affairs, as well as inspired the artist creatively throughout the remainder of his life. The provenance of "Le Luxembourg," dating from 1953, originates with Vava's estate, and was perhaps a beautiful reminder of their early relationship.
Chagall’s works from 1953 to 1956 such as "Le Luxembourg" are outstanding examples of the artist’s style and technique from his rare Paris Series and highlight a significant inspiration for Chagall throughout his life - the city of Paris. The paintings from this period are remarkably light-hearted and ethereal, combining Chagall’s ideas of romanticism and spirituality. These paintings depict a sense of starry-eyed youthfulness by employing vibrant colors, vigorous brushstrokes, and imagery of lovers and animals often combined with Parisian monuments.
"Le Luxembourg" is an esquisse or study for the masterful work "Paris entre Deux Rives" also called "Les Deux Fleuves" of 1953-1956, currently held in a private collection. The latter has been recently exhibited at the Museo Thyssen-Bornemisza, Madrid, Spain, 2012; La Piscine de Roubaix, Roubaix, France, 2012 and 2015; the Dallas Museum of Art, 2013; and the Royal Museums of Fine Arts of Belgium, 2015. In the 1960s, "Paris entre Deux Rives" was selected as one of the fifty works included in the Peintures de Paris exhibition at the Musée de Beaux-Arts in Montréal, an impressive group show featuring the works of Pablo Picasso, Fernand Léger, and Georges Braque among others. Designed to highlight the talent of artists from the School of Paris, "Paris entre Deux Rives" was in excellent company. Chagall owned "Paris entre Deux Rives" at the time, and most likely, he was involved in selecting it for the exhibition as the most representative of his Paris Series.
Important for leading to the completion of "Paris entre Deux Rives," the painting offered here is a significant work in its own right. "Le Luxembourg" provides an intimate glimpse into Chagall’s artistic processes, particularly how he developed his composition and color choices. Multiple pentimenti in both pencil and crayon are visible through the oil layer and reveal the hand of the artist to a great extent. "Le Luxembourg," much like "Paris entre Deux Rives," is dominated by the deep, saturated blue of twilight and includes key elements of Chagall’s Paris Series works. Of particular note, Chagall maintained the positioning of the bride, green horse, and crescent moon from this esquisse when completing "Paris entre Deux Rives."
The bouquet of red roses stemming from a vase centers the composition of "Le Luxembourg" and provides additional rich color. First seen in Chagall’s work in the early 1920s, the vase of flowers is often interpreted as a romantic component of his symbolic vocabulary representing his first wife, Bella, and the idyllic state of their union. During subsequent decades, this element remained, perhaps with the added poignancy as a reflection on the fleeting nature of life and as a metaphor for Chagall’s reuniting with Paris.
To the right in faint outline, the figure playing a fiddle is reminiscent of the many other such musicians in Chagall's canvases and is rooted in his deep-seated Jewish, Russian, and Belarusian heritage. Chagall’s first work in his long series of fiddlers was created in 1908. Often the fiddlers are not the main character of the scene, but rather, as depicted in "Le Luxembourg," an emblematic addition to the composition providing an air of musicality. The instrument for centuries had been tied to Jewish songs filled with a nuanced range of emotion from joy to despair, a duality and complexity that would have appealed to Chagall.
Iconic thematic elements punctuated Chagall’s work throughout his career. Animals, mythical creatures, the circus, lovers, musicians, and scenes of the cities in which he lived appear insistently on his canvases. His oeuvre, which was also inspired by Judaism and Yiddish fairy tales, evolved with elements of mysticism and Biblical allusion that combined toward the end of his life to reflect the artist’s own unique ideas of spirituality. Particularly in the time period of "Le Luxembourg," Chagall seemed able to achieve in life and in each brushstroke a harmonious coexistence of past and present.
"Le Luxembourg" is a romantic and evocative representation unified through the distinctive pictorial symbols present throughout Chagall's most famous works - a quintessential, classic and powerful painting by the master of European Modernism.
Ref.: Baal-Teshuva, Jacob. Chagall: A Retrospective. New York: Hugh Lauter Levin Associates, 1995; Élie, Robert. "Peintres de Paris." Vie des arts 32 (1963): 44–51; Meslay, Olivier. Chagall: Beyond Color. Dallas, TX: Dallas Museum of Art, 2013; Meyer, Franz. Marc Chagall. New York: H.N. Abrams, 1964; Prat, Jean-Louis. Chagall. Madrid: Museo Thyssen-Bornemisza, 2012; Sweeney, James Johnson. Marc Chagall. New York: The Museum of Modern Art, 1946; Wilson, Jonathan. Marc Chagall. New York: Random House, 2007

112. Italian Renaissance Carved Oak Table, late 18th/early 19th c., octagonal top, conforming frieze, scrolled acanthus supports with paw feet, conforming molded plinth base, h. 28 1/4 in., w. 33 1/4 in., d. 29 in. $700/1000

113. Italian Renaissance Carved Walnut Bookcase, 17th c., architectonic dentil-molded cornice, open shelves flanked by carved stiles, lower case with paneled doors, conforming plinth, h. 88 in., w. 96 in., d. 19 in. $2000/3000



114. Antique French Tôle Peinte Tray, 19th c., red ground with Caribbean island scenes in reserve, later faux bamboo stand, h. 18 1/4 in., dia. 35 1/2 in. $800/1200



115. Flemish Bronze-Mounted and Tortoiseshell and Bone-Inlaid Mixed Woods Console, 19th c., banded top, blocked frieze with port scene panels, barley-twist supports and stretcher, turned feet, h. 37 in., w. 49 in., d. 15 1/4 in. $1000/1500



116. Flemish Bronze-Mounted and Tortoiseshell Inlaid Papelera on Stand, 18th c. and later, cabinet with eight drawers and ball and claw feet, stand with trestle base and wrought iron stretchers, h. 49 3/4 in., w. 35 in., d. 14 in. $2000/3000

117. Pair of Baroque-Style Carved Oak Tabourets, early 20th c., trapezoidal upholstered seats with nailhead trim, vasiform blocked legs, shaped stretchers, h. 18 in., w. 18 in., d. 17 in. $250/350

118. French Provincial Carved Fruitwood Hall Chair in the Louis XIV Taste, probably 19th c., serpentine crest rail, padded back and seat, turned legs and stretchers, disc feet, h. 42 1/2 in., w. 21 3/4 in., d. 20 in. $400/600
Provenance: Bremermann Designs, 3943 Magazine St., New Orleans.

119. French Provincial Carved Walnut Cabinet, 18th c., molded top, two frieze drawers, two paneled cabinet doors, shelf interior, h. 51 in., w. 52 3/4 in., d. 25 in. $800/1200
Provenance: Bremermann Designs, 3943 Magazine St., New Orleans.

120. Antique Continental Carved Marble Pedestal, octagonal top, turned, fluted and foliate-carved standard, circular base, h. 43 in., dia. 8 1/2 in. $300/500

121. Continental Carved Marble Pedestal, rotating top, turned standard, plinth base, h. 48 in., w. 13 1/2 in., d. 13 1/2 in. $250/350

122. Louis XVI-Style Carved and Crème Peinte Bergère, late 19th c., beaded and finialed crest rail, fluted stiles and legs, silk upholstery, h. 38 in., w. 27 1/2 in., d. 23 in. $800/1200
Provenance: Whitehall Antiques, Chapel Hill, NC, Feb. 2012.

123. Spanish School, late 18th/early 19th c., "Portrait of Saint Dorothea of Caesarea", oil on stretched linen, unsigned, "The Rosenbach Company, Pictures, Books, Objects of Art, 188 Chestnut Street, Philadelphia" label en verso, 14 1/4 in. x 12 1/2 in., unframed. $700/1000
Provenance: Harriet Huston, Pittsburgh, PA; Collection of Sam Cann, Savannah, GA.



124. Gabriele Germain Joncherie (French, 19th c.), "Still Life with Meat, Bread, Eggs and Decanter", 1834, oil on canvas, signed and dated lower right, 20 in. x 24 in., framed. $3000/5000
Provenance: Philip Ambler, Pass Christian, MS; Cary Long (Goudeau Antiques), Baton Rouge.



125. After Raphael Sanzio d'Urbino (Italian, 1483-1520), 6 engravings from Loggie di Rafaele nel Vaticano, 1772-1777, by Ottaviani, after Savorelli and Camporesi, sheets 36 1/4 in. x 26 3/4 in., unframed. $2000/3000

126. French Patinated Bronze Allegorical Vase, late 19th c., cast with a scene from Aesop's fable "The Fox and the Grapes", banner reading "Le Renard et les Raisins", bird feet, h. 12 1/2 in., w. 9 1/4 in., d. 8 1/4 in. $300/500

127. Pair of Continental Cold-Painted Bronze Blackamoor Candlesticks, early 20th c., h. 10 1/2 in. $500/700

128. Pair of Régence Brass Candlesticks, 18th c., faceted standard, octagonal base, h. 10 in. $200/300

129. Large Antique Carved Giltwood Frame, 18th/19th c., with green painted foliate details, interior 62 1/2 in. x 59 1/2 in., overall 72 1/2 in. x 69 1/2 in. $1000/1500
Provenance: Bremermann Designs, 3943 Magazine St., New Orleans.

130. English or Continental Tôle Peinte Coal Scuttle, 19th c., knop finial, lion's mask loop handles, hairy paw feet, gilt decorated overall with chinoiserie scenes, h. 16 in., w. 17 in., d. 13 1/2 in. $500/800
Provenance: Kevin Stone Antiques, New Orleans, Apr. 2013.



131. Large German Porcelain Figural Table Lamp, domical shade inset with lithophane panels, two couples dancing around a tree, h. 26 in., dia. 13 1/2 in. $1000/1500

132. Pair of Empire Bronze Four-Light Figural Sconces, early 19th c., caryatid backplate, h. 22 in., w. 13 1/4 in., d. 7 1/2 in. $800/1200
Provenance: Bremermann Designs, 3943 Magazine St., New Orleans.

133. Bronze Figural Group of a Young Couple, after "Le Baiser Donné" by Jean-Antoine Houdon, signature inscribed on reverse of shoulder, h. 8 1/4 in., w. 6 1/4 in., d. 4 1/2 in., marble base, overall h. 9 1/2 in. $500/700



134. Patinated Bronze Figure of Mercury, after the original by Giambologna, signature inscribed on self-base, h. 21 1/4 in., w. 4 in., d. 8 in. $400/600

135. Pair of Paris Polychrome Porcelain Covered Potpourri Urns, c. 1830, reserves with scenes of Pierrot, reverse painted in blue with gilt decoration, paw feet and square plinths, h. 4 1/2 in. $400/600
Provenance: Lee B. Anderson Collection.

136. American or English Carved Mahogany and Beadwork Pole Screen, mid-19th c., scrolled frame with a beadwork panel, tripod base, h. 55 1/2 in., w. 15 in., d. 15 in. $150/250
Provenance: Lee B. Anderson Collection.



137. American Aesthetic Carved and Inlaid Mahogany Bedroom Suite, late 19th c., attr. to Herter Brothers, New York, incl. bed, tall chest, mirrored dresser, and bedside commode; each decorated with sunflower marquetry panels, carved sunflower medallions and incised decoration, bed h. 64 1/2 in., l. 77 in., w. 59 1/2 in.; tall chest h. 52 1/2 in., w. 36 in., d. 22 in.; dresser h. 72 in., w. 50 in., d. 22 1/2 in., commode h. 34 in., w. 17 1/2 in., d. 15 1/2 in. $3000/5000
Note: The bedroom suite shown here features sunflower motif marquetry panels and carved relief decoration. The suite is closely related to several Herter Brothers examples that also feature the sunflower motif—a common pattern used in late 19th century Aesthetic design.
Ref.: Howe, Katherine S., Alice Cooney Freling­huysen and Catherine Hoover Voorsanger, et al. Herter Brothers: Furniture and Interiors for a Gilded Age. New York: Harry N. Abrams, Inc. and The Museum of Fine Arts, Houston, 1994, pp 50, 171. See page 219 for specific sunflower marquetry examples.

138. American Renaissance Carved and Burled Walnut Library Armchair, late 19th c., possibly Pottier and Stymus, New York, scrolled uprights, foliate uprights, foliate and tassel-carved returns, scrolled legs, h. 36 in., w. 26 in., d. 30 in. $700/1000

139. Fine Edwardian Carved, Painted and Parcel Gilt Four Panel Screen, early 20th c., center panels surmounted by foliate crests, graduated side panels, damask upholstery, h. 73 1/2 in., w. (extended) 80 in. $1500/2500

140. English Painted Satinwood Console Table, late 19th c., possibly Wright and Mansfield, London, demilune top, blocked frieze, turned tapered supports, conforming plinth, flared legs, h. 33 1/2 in., w. 33 1/4 in., d. 17 in. $1200/1800
Provenance: Bremermann Designs, 3943 Magazine St., New Orleans.

141. Edwardian Carved Mahogany Partner's Desk, early 20th c., inset tooled leather top, molded edge, six frieze drawers, ring-turned, reeded tapered legs, cuff casters, h. 29 1/2 in., w. 58 in., d. 40 1/2 in. $1500/2000



142. American Rosewood Sunderland Table, mid-19th c., likely J. & J.W. Meeks, New York, drop-leaf top with rope-molded edge, scrolled stretcher, trestle base mounted with scrolled brackets, casters, h. 29 1/2 in., w. 37 in., d. (open) 35 1/2 in., d. (closed) 19 in. $400/600

143. Pair of Italian Rococo Carved Walnut Armchairs, 18th c., serpentine crest rail, padded back, arms and seat, scalloped apron, cabriole legs, scrolled toes, needlepoint upholstery, h. 43 1/2 in., w. 27 in., d. 23 in. $1200/1800



144. Pair of Louis XV-Style Bronze-Mounted Kingwood Parquetry Games Tables, 19th c., stenciled "HOEFFER EBENISTE 205 RUE STE. ANTOINE, PARIS", shaped foldover top, velvet playing surface, serpentine frieze, cabriole legs, sabots, h. 31 in., w. 33 1/4 in., d. (open), 34 in., d. (closed) 17 in. $1200/1800



145. Antique French Provincial Carved Walnut Armoire in the Louis XIV Taste, 19th c., molded cornice, heavily paneled doors, fiche hinges, shelf interior, blocked feet, h. 80 1/2 in., w. 60 1/2 in., d. 25 in. $800/1200
Provenance: Waldhorn & Adler, New Orleans.

146. French Carved Walnut Panetière in the 17th c. Taste, reticulated doors open to shelf interior, incised decoration, h. 30 in., w. 27 in., d. 10 in. $400/600

147. Bernardo Nieves (Venezuelan, b. 1961), "Untitled: Serie Caballo", oil on canvas, signed lower right, signed and inscribed en verso, 33 1/2 in. x 47 in., framed. $1000/1500
Note: Beginning in 2000, Bernardo Nieves focused almost exclusively in his work on the equine image - developing his ongoing Serie de Caballos using a stylized rendering reminiscent of ancient cave art. The work on offer here is a fine example of the graceful floating forms painted in Nieves’ trademark earth tone palette and displays the artist's fascination for the horse and its many symbolic meanings.
Ref.: "Bernardo Nieves". Almira Fine Art. 2017. www.almirafineart.com. Accessed Aug. 14, 2018.

148. Steve Kline (American/New Orleans, 20th c.), "Dancing Daze", 1992, polyurethane on brushed aluminum, signature and date stamped on self-base, h. 24 in., w. 31 3/4 in., d. 21 in. $2000/3000
Provenance: Sylvia Schmidt Gallery, New Orleans, LA, 1993.
Note: Steve Kline’s works are scattered throughout the city of New Orleans. With a monumental sculpture in Louis Armstrong International airport and several installations in playgrounds and other public spaces, Kline’s polychrome and brushed metal sculptures are at once familiar and easily recognizable. "Dancing Daze" is a colorful and enchanting work with fluid lines and geometric shapes that playfully intermingle.
Ref.: "Serpent Mound." Museum without Walls. www.culturenow.org. Accessed Aug. 16, 2018.

149. Joan Miro (Spanish, 1893-1983), "Enchantments or Wonders with Variations in Miro's Garden (Maravillas con variaciones acrosticas en el jardin de Miro) - Composition 18 of 20 in the Suite", 1975, color lithograph on paper, pencil-signed lower right, pencil-numbered "58/75" lower left, "ES" watermark, printed and published by Edition Poligrafa, Barcelona, sheet 27 in. x 20 3/4 in., framed. $4000/5000
Provenance: Private Collection, Hilton Head, SC.

150. Rufino Tamayo (Mexican, 1899-1991), "Hombre con Baston", 1980, Mixografía on handmade paper, pencil-signed lower right, pencil-numbered "95/100" lower left, 36 in. x 28 in., framed. $3000/5000
Provenance: Nahan Galleries, New Orleans, LA, 1984.

151. Jacques Hnizdovsky (Ukrainian/American, 1915-1985), "Ibex", woodcut, signed, titled, dated and numbered "107/150", 21 1/2 in. x 14 3/4 in., framed. $500/800
Ill.: Tahir, Abe M., Jr. Hnizdovsky: Woodcuts, 1944-1975, A Catalogue Raisonné. Gretna: Pelican Publishing Company, 1976, fig. 142.

152. Jacques Hnizdovsky (Ukrainian/American, 1915-1985), "Great-Horned Owl", 1973, woodcut, signed, titled, dated and numbered "68/120", 15 3/4 in. x 8 in., framed. $400/600
Ill.: Tahir, Abe M., Jr. Hnizdovsky: Woodcuts, 1944-1975, A Catalogue Raisonné. Gretna: Pelican Publishing Company, 1976, fig. 181.

153. Jacques Hnizdovsky (Ukrainian/American, 1915-1985), "Suicide Oak" 1974, woodcut, signed, titled, dated, and numbered "113/125" in lower margin, initialed and dated in plate, 18 in. x 22 in., framed. $500/800
Ill.: Tahir, Abe M., Jr. Hnizdovsky: Woodcuts, 1944-1975, A Catalogue Raisonné. Gretna: Pelican Publishing Company, 1976, fig. 181.

154. William Whetten Renwick (American/Massachusetts, 1864-1933), "Nude", photogravure, unsigned, from Camera Work No. 20, published 1907, 3 in. x 7 3/4 in., framed. $300/500

155. Édouard Boubat (French, 1923-1999), "Le Beguinage de Bruges, Belgique", 1954, silver gelatin print, signed lower right, signed, titled and dated en verso, 12 in. x 16 in., framed. $800/1200
Note: Édouard Boubat began making photographs in his mid-twenties, capturing the rebuilding of Paris after World War II. Due to his experiences during the war, Boubat felt the need to celebrate life, and his photography was the means to achieve that goal. Boubat was a humanist and apolitical; he sought only to photograph uplifting subjects. Being greatly influenced by Cartier-Bresson’s "decisive moment" style of photography, he began to gravitate towards photojournalism, eventually receiving a position with Réalités magazine. The role of photojournalist allowed him to explore the threads of everyday life that connected all people around the globe - to explore the idea of the beauty and simplicity that can exist in people’s lives. Boubat’s thoughts on his body of work: "A photograph gives you a deep insight into a moment, it recalls the whole world."
Ref.: "Édouard Boubat Bio". Duncan Miller Gallery. www.duncanmillergallery.com. Accessed Aug. 14, 2018.

156. Brett Weston (American/California, 1911-1993), "Nude Underwater", 1980, silver gelatin print, pencil-signed and dated on mat, 11 1/2 in. x 8 3/8 in., unframed. $2000/3000

157. Jean Mayodon (1893-1967) Glazed Art Pottery Vase, c. 1930, France, marked with artist's cypher, decorated with four blue nudes inspired by the dancing figures of Henri Matisse, h. 5 1/2 in., dia. 5 in. $700/900
Provenance: Modernism Gallery, Coral Gables, FL, Aug. 2013.

158. Colette Gueden (1905-200) Atelier Primavera Glazed Art Pottery Vase, c. 1930, France, marked "Primavera" and "Made in France", decorated with applied concentric rings on an orange and brown banded ground, h. 6 in., dia, 6 in. $500/700
Provenance: Candau Antiques & Fine Art, Pont-Aven, France, Sept. 2015.

159. Antique Sailor's Carved Coconut and Zebrawood Dipper or Ladle, 19th c., ivory collar, length 15 in. $700/1000

160. Tiffany & Co. Sterling Silver Cigar Tube, marked "Tiffany & Co.", "925" and "T & Co", engraved "1837", l. 6 1/4 in., wt. 3.50 troy ozs. $400/600

161. Rare Miniature Sterling Silver Chalice and Paten, c. 1900, marked "STERLING" and "25", octagonal faceted form with beaded borders, paten engraved "Rev. A.W. Hardon/ Mar 25/ 02", chalice h. 1 3/4 in. $150/250

162. H. Alvin Sharpe (American/New Orleans, 1910-1982), silver chalice with semi-precious tumbled stones, 20th c., embossed "Jean Baptiste Le Moyne, Sieur de Bienville, (1680-1768)", stamped "Alvin Sharpe" in cup, stamped "H. Alvin Sharpe" with image of artist on reverse of base, h. 7 5/8 in., wt. 2 lbs. 7 ozs.; accompanied by Hardy, Arthur. New Orleans Mardi Gras Guide: The Complete Companion to the Parade Season, 1980. (2 pcs.) $800/1200

163. H. Alvin Sharpe (American/Louisiana, 1910-1982), silver chalice with semi-precious tumbled stones, 20th c., embossed "Homeward Course and Light Burdened" in cup, "God Bless and Keep You" on reverse of base, incised with the signature, dated "1972 " and inscribed "Catoe Family Grail, Fine Silver, Drink in Good Health, but Drink" on reverse of cup, h. 8 in.; accompanied by Hardy, Arthur. New Orleans Mardi Gras Guide: The Complete Companion to the Parade Season, 1980. (2 pcs.) $700/900

164. Gorham Sterling Silver Shell Bonbon Dish, no. 42606, l. 8 7/8 in.; together with International "Wedgwood" pattern sterling sandwich tray, w. 13 1/4 in., total wt. 24.35 troy ozs. $300/500

165. American Sterling Silver Tazza and Bowl, mid-20th c., vintage motif tazza with molded border and reticulated flat chased well, h. 1 3/4 in., dia. 10 in.; bowl with leaf and berry border, h. 1 3/4 in., dia. 9 5/8 in.; combined wt. 24.45 troy ozs. $400/600

166. Black, Starr and Frost Sterling Silver Circular Tray, early 20th c., act. 1874 to present, New York, reticulated floral and scroll border, well with script monogram, dia. 11 5/8 in., wt. 18.70 troy ozs. $400/600

167. Antique French Silver Presentation Cup, Cesar Tonnelier, Paris, act. 1845-1882, export mark for 1840-1879, paneled footed form with flat chased floral and foliate decoration, branch and leaf handle, cartouche engraved "Malvina/From her friend/E. Farrand/ December 25, 1857", h. 4 7/8 in., wt. 7.20 troy ozs. $200/400

168. Marie Atkinson Hull (American/Mississippi, 1890-1980), "After the Hurricane", 1969, oil on canvas, signed lower left, 34 in. x 27 3/4 in., framed. $6000/9000
Provenance: Collection of Stuart C. Irby, Jr. to the present owner.
Note: The gestural brushstrokes and rectangular forms in the painting offered here are a testament to Marie Hull’s evolving style throughout her life. Hull primarily painted portraits and landscapes throughout the 1920s and 1930s. Beginning around 1940, she began to experiment by including flat, interlocking planes of color to interpret her surroundings in Mississippi, inspired by Abstract Expressionism. The title "After the Hurricane" would most likely refer to Hurricane Camille. A particularly intense storm, Camille made landfall in Pass Christian, Mississippi on August 18, 1969. The beautiful, but chaotic shapes in Hull's painting perfectly portray the aftermath of a storm on the Gulf Coast.

169. Marie Atkinson Hull (American/Mississippi, 1890-1980), "Untitled (Abstract)", oil on paper, signed lower left, 27 1/2 in. x 22 in., framed. $4000/6000
Provenance: Collection of Stuart C. Irby, Jr. to the present owner.



170. Clarence Millet (American/Louisiana, 1897-1959, "Cathedral - Jackson Square", oil on canvas, signed lower left, signed and titled en verso, 24 in. x 26 in., framed. $12000/18000

171. William Woodward (American/New Orleans, 1859-1939), "Courtyard on Royal Street, N.O.", 1904, pencil on paper, initialed, titled, dated and inscribed lower margin, 11 in. x 7 in., framed. $800/1200
Provenance: Descended in the family of the artist.

172. Andrew Bucci (American/Mississippi, 1922-2014), "Untitled (Brown, Purple and Green)", 1991, oil on paper, signed lower left, dated en verso, 22 1/2 in. x 17 1/2 in., framed. $1000/1500

173. Andrew Bucci (American/Mississippi, 1922-2014, "Untitled (Blue)", 1996, watercolor and charcoal on paper, signed lower left, dated en verso, 12 in. x 9 in., framed. $700/900

174. Andrew Bucci (American/Mississippi, 1922-2014), "Untitled (Purple)", 1995, watercolor and charcoal on paper, signed lower left, dated en verso, 12 1/8 in. x 9 in., framed. $700/900

175. Andrew Bucci (American/Mississippi, 1922-2014), "Untitled (Yellow and Brown)", 1995, watercolor and charcoal on paper, signed lower left, dated en verso, 12 in. x 9 in., framed. $700/900



176. Lower Mississippi River Valley Cherrywood Armoire, early 19th c., cove-molded cornice, pair of paneled doors, reeded stiles, divided interior of linen trays and hanging compartment, scalloped base, bracket feet, h. 77 3/4 in., w. 51 in., d. 19 3/4 in. $1000/1500



177. Pair of American Federal Mahogany Bowfront Chests of Drawers, early 19th c., shaped top, conforming case, four graduated drawers, turned legs, h. 38 3/4 in., w. 43 in., d. 23 3/4 in. $1500/2500

178. Two Antique American Cherrywood Windsor Chairs, reticulated crest rail, spindled back, shaped seat and stretcher, tapered legs, h. 34 1/4 in., w. 19 1/2 in., d. 15 in. $400/600
Provenance: From noted antiquarian Cary Long (Goudeau Antiques), Baton Rouge.

179. French Restauration Fruitwood Center Table, c. 1840, Gris de Ste. Anne marble top, conforming frieze, vasiform standard, shaped scrolled legs, casters, h. 29 3/4 in., dia. 30 3/4 in. $500/1000
Provenance: Bremermann Designs, 3943 Magazine St., New Orleans.

180. John McCrady (American/New Orleans, 1911-1968), "Mississippi Family", lithograph, initialed in plate lower left, titled and inscribed "ed. 25" lower margin, inscribed "...tree top" right margin, sheet 12 1/4 in. x 16 1/4 in., framed. $1000/1500

181. William Woodward (American/New Orleans, 1859-1939), "Poydras Market (Baronne Street)", 1932, pencil on paper, signed and dated lower right, 9 1/2 in. x 12 1/2 in., framed. $1000/1500
Provenance: Descended in the family of the artist.



182. Alberta Kinsey (American/New Orleans, 1875-1952), "French Quarter Courtyard", oil on board, signed lower right, 12 in. x 17 in., framed. $1200/1800

183. William Woodward (American/New Orleans, 1859-1939), "French Quarter - New Orleans, La.", 1937, pencil on paper, signed and dated lower left, titled en verso, 8 in. x 10 1/2 in., framed. $800/1200
Provenance: Descended in the family of the artist.

184. William Woodward (American/New Orleans, 1859-1939), "Benachi Ave., Biloxi, Miss", 1934 and "1905 Yellow Fever Guard Camp at Pass Christian, Miss.", 2 pencils on paper, former signed and dated lower left and titled and inscribed upper margin, latter signed, titled and inscribed lower right, 7 7/8 in. x 10 7/8 in. and 10 in. x 14 in., framed. $1200/1800
Provenance: Descended in the family of the artist.

185. William Woodward (American/New Orleans, 1859-1939), "Corner of Chartres Street at Old Ursuline Convent", 1935, pencil on paper, signed and dated lower left, 8 in. x 10 1/4 in., framed. $800/1200
Provenance: Descended in the family of the artist.

186. Antique Louis XV-Style Carved Fruitwood Canapé, serpentine floral carved crest rail, padded scrolled arms, conforming seat rail, cabriole legs, h. 37 in., w. 77 in., d. 30 in. Note: Condition. $800/1200
Provenance: Bremermann Designs, 3943 Magazine St., New Orleans.

187. American Federal Cherrywood Tall Chest, early 19th c., dovetailed inset top, two drawers over four graduated drawers, shaped bracket feet, h. 44 1/4 in., w. 38 1/2 in., d. 17 1/2 in. $600/900



188. Southern Federal Inlaid Walnut Secretary Bookcase, c. 1800, Georgia or South Carolina, shaped and blocked cornice, glazed doors enclosing shelf interior, fall-front desk with fitted interior, four graduated drawers, shaped apron, "French" bracket feet, h. 97 in., w. 43 1/4 in., d. 20 1/2 in. $3000/5000
Provenance: E.R. Wilkerson, Inc., Atlanta, GA; Estates of Shasta and Sue McCranie, Willacoochee, GA.

189. Southern Painted Yellow Pine Huntboard, c. 1830, Washington County, Georgia, molded high backsplash, two board top, two deep drawers, turned legs, h. 51 3/4 in., w. 48 in., d. 22 1/4 in. $2500/3500
Provenance: John Irwin Giles, Deep Step, Washington County, GA; Estates of Shasta and Sue McCranie, Willacoochee, GA.
Exh.: High Museum, Atlanta, GA, Hidden Heritage: Recent Discoveries in Georgia Decorative Art, 1733-1915.
Ill.: Hidden Hertiage: Recent Discoveries in Georgia Decorative Arts, 1733-1915. Atlanta: High Museum of Art, 1990, p. 34.

190. Pair of Antique Anglo-Colonial Carved Tropical Hardwood Armchairs, probably 19th c., shaped crest, caned back, shaped arms, trapezoidal seat, vasiform turned legs, h. 35 in., w. 26 1/2 in., d. 20 1/2 in. $600/900

191. Fine West Indies Carved and Inlaid Mahogany Huntboard, early 19th c., fan-carved backsplash, molded top, ripple-molded frieze, drawer on each end, square tapered legs, cuffed at the base, original finish, h. 57 in., w. 47 1/2 in., d. 19 1/2 in. $4000/6000



192. Louisiana Federal Inlaid Mahogany Armoire, early 19th c., stepped cornice, cartouche inlaid frieze, paneled doors, shelf interior with later medial belt of drawers, lower drawer, turned legs, brass ball feet, h. 84 in., w. 48 in., d. 20 in. $2500/3500
Note: Federal-style armoires with base drawers are relatively rare in Louisiana. This highly figured mahogany armoire is related to a similar armoire with flush-panel doors and a base drawer that was found in Loreauville, Iberia Parish and illustrated in Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835.
Ref.: Holden, Jack D., et al. Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835. New Orleans: The Historic New Orleans Collection, 2010, p. 141.

193. Antique American Painted Pine Blanket Chest, 19th c., molded top, strapwork hinges, dovetailed corners, two lower drawers, bracket feet, h. 24 1/2 in., w. 46 in., d. 21 in. $300/500

194. French Provincial Carved Fruitwood Writing Table, probably early 19th c., inset leather top, frieze drawer, tapered turned legs, h. 27 1/4 in., w. 31 in., d. 25 1/2 in. $500/700
Provenance: Bremermann Designs, 3943 Magazine St., New Orleans.

195. Suite of Four Louis XV-Style Crème Peinte Fauteuils, probably late 19th/early 20th c., floral carved crest rail, leather back and seat, padded scrolled arms, conforming seat rail, cabriole legs, h. 36 in., w. 23 3/4 in., d. 20 in. $1000/1500
Provenance: Bremermann Designs, 3943 Magazine St., New Orleans.

196. Joseph Rusling Meeker (American/Louisiana, 1827-1887), "Florida Scene", oil on panel, initialed lower left, signed en verso, 12 in. x 6 in., framed. $4000/6000



197. Alexander John Drysdale (American/New Orleans, 1870-1934), "Louisiana Bayou", oil on canvas, signed lower right, remnant of label en verso, 21 in. x 30 in., framed. $7000/10000

198. Ellsworth Woodward (American/New Orleans, 1861-1939), "Design for Basket", c. 1908, watercolor on paper, initialed and titled lower margin, 19 1/4 in. x 13 in., framed. $800/1200
Ill.: Bragg, Jean. The Newcomb Style. New Orleans: Jean Bragg Gallery, 2000, p. 18.



199. Clarence Millet (American/Louisiana, 1897-1959), "Oak Alley Plantation, St. James Parish", oil on canvas board, signed lower left, "Harmanson's Art and Book Store, 333 Royal Street, New Orleans" label with title en verso, 16 in. x 20 in., framed. $6000/8000

200. William Woodward (American/New Orleans, 1859-1939), "Expansive View of a New England Rocky Coast", oil on canvas, monogrammed lower left, partial handwritten label on reverse of frame, 30 in. x 40 in., original frame. $15000/25000

Provenance: Descended in a New Orleans family; thence to the collection of an esteemed New Orleans antiquarian on Chartres Street.

Note: A beautiful seascape in New England, likely near William Woodward’s native Seekonk, Massachusetts, the painting offered here displays the artist’s characteristic Impressionist brushwork and lighting. The reflections of light on the water and the rocky shore are created with patchy brushstrokes of varying colors that combine to create a coastal image with which the artist would have been familiar from his childhood in Massachusetts and his years of study at the Rhode Island School of Design. Woodward, who traveled extensively, often returned to the Northeast to paint the landscapes of his youth.

An accompanying document and partial label on the frame mention that this painting was owned by John Ordway, a fellow professor at Tulane University. Ordway was Dean of the Faculty at the Massachusetts Institute of Technology before accepting a position at Tulane as Dean of the School of Technology in 1884; it is understandable that a fellow New Englander would appreciate a seascape depicting his former home. The two professors worked closely together in the Tulane Manual Training School, creating a program that would teach students to be "rounded in art expression – mechanical and architectural as well as artist."

Documentation also notes the inclusion of this painting in an exhibition at the Tennessee Centennial Exposition of 1897. This exposition, which took place to celebrate the 100th anniversary of Tennessee’s statehood, included a full-scale replica of the Parthenon, which served as the Fine Arts building. The exhibit was so popular that it became a permanent structure and still stands in what is today Nashville’s Centennial Park. Woodward was a great admirer of expositions, having first become interested in art after visiting the 1876 Philadelphia Centennial Exposition and having exhibited in the 1884 World’s Industrial and Cotton Centennial Exposition in New Orleans and the 1893 World’s Columbian Exposition in Chicago.

Ref.: Hinckley, Robert, ed. William Woodward: American Impressionist. Jackson: University Press of Mississippi, 2012.


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