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Information below is the lot/description information from our Winter Estates Auction, January 27th & 28th, 2018. Descriptions listed below are NOT guaranteed accurate. Call 1-800-467-5329 for general information on Neal Auction Company. Follow the catalogue link to order our beautifully illustrated catalogue.

You are at > Lots 201-300

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201. Three Art Glass Pieces by Charles Lotten (American/Illinois, b. 1935), each signed and dated, incl. gooseneck "Persian" vase, 1978, h. 14 1/4 in.; bulbous vase, 1977, h. 5 1/4 in.; and "King Tut" paperweight, dia. 3 in. $1200/1800

202. Two Pairs of Antique Baccarat "Bambous" Pattern Pressed Glass Candlesticks, early 20th c., marked "Depose" and "Baccarat", h. 8 7/8 in. and 9 1/8 in. $400/600

203. French Carved and Gilded Oval Mirror, probably mid‑19th c., large crest carved with mythical creatures, mask pendant, foliate surround, beveled mirror plate, h. 55 in., d. 36 in., d. 12 in. $1200/2000

204. Pair of Chippendale‑Style Carved Giltwood Mirrors, floral crests, scrolled architectural surround, h. 53 in., w. 30 in. $1000/1500



205. Napoleon III Bronze Mantel Clock, late 19th c., Japy Freres movement, surmounted by urn with portrait medallion, concave dial flanked by winged griffins, base with Classical bust mount, h. 19 in., w. 13 1/4 in., d. 6 3/4 in. $1200/1800

206. Beaux Arts Bronze‑Mounted Marble and Slate Three‑Piece Clock Garniture, c. 1900, dial marked "Pecherat‑Caillat", clock surmounted by urn with heron finial, foliate columns, paw feet, conforming five‑light candelabra, clock h. 19 3/4 in., w. 11 3/4 in., d., 8 in., candelabra h. 22 3/4 in. $700/1000

207. Chinese Mixed Hardwoods Table Cabinet, loop handle, two doors carved with dragons amid clouds, interior fitted with drawer, bracket feet, reverse with apocryphal Qianlong mark, h. (excluding handle) 15 3/4 in., w. 15 3/8 in., d. 9 1/2 in. $1000/1500

208. Chinese Carved Rosewood Armchair, 19th c., probably hongmu, seat back carved with central dragon beneath dragons pursuing a flaming pearl, dragon arms, shaped seat, phoenix and deer apron, Buddhist lion front legs, claw and ball feet, h. 43 1/2 in., w. 24 1/4 in., d. 21 3/4 in. $1000/1500

209. American Renaissance Carved, Gilded and Ebonized Pedestal, c. 1876, Charles Buschor, stepped circular top, urn‑form upper section with spherule‑and‑tassel carved swags, columnar base with acanthus‑and‑spherule decoration over a shaped plinth, paw feet with scrolled returns, h. 36 in., w. 24 in., d. 24 in. $2500/3500
Provenance/Exh.: Philadelphia Centennial Exposition.
Note: A photo of Philadelphia cabinetmaker Charles Buschor’s display at the 1876 Centennial Exposition in Philadelphia documents the ebonized pedestal in the lot offered here, which was the centerpiece of his booth.
Ref.: The Philadelphia Free Library, Digital Collections. libwww.freelibrary.org/digital/item/891. Accessed January 11, 2018.

210. American Aesthetic Argenté Brass Easel, c. 1885, scrolled finials, entwined foliate crest, floral stretcher with a classical reserve, flared foliate feet, h. 77 in., w. 28 1/2 in., d. 28 1/2 in. $1000/1500
Ref.: A Brass Menagerie: Metalwork of the Aesthetic Movement by Anna Tobin D'Ambrosio; Utica, NY: Munson, Williams, Proctor Institute, 2005, p. 66, for a related example.

211. American Egyptianesque Faux Stone Pedestal, c. 1920, painted with various Egyptian hieroglyphic motifs, h. 35 in., w. 13 3/4 in., w. 13 3/4 in. $500/1000



212. American Aesthetic Carved Mahogany Armchair, late 19th c., in the Egyptian taste, arched crest, pierced splat, spiral‑turned uprights, conforming stretchers, turned legs, casters, h. 45 1/2 in., w. 22 in., d. 19 in. $1000/1500



213. American Renaissance Carved, Painted, Inlaid and Gilt‑Incised Rosewood Parlor Cabinet, c. 1870, attr. Herter Brothers, New York, molded slate top, pedimented cornice, later upholstered side panels, two frieze drawers, three paneled doors elegantly painted with classical reserves, fluted stiles, shaped base, turned and molded bracket feet, h. 51 in., w. 70 in., d. 21 3/4 in. $15000/25000
Note: The elaborately inlaid and painted parlor cabinet offered here is a stunning example of the tripartite cabinets made by Herter Brothers, a New York firm who created some of the most extravagant furniture of the late 19th century for prominent names such as Rockefeller and Vanderbilt. The colorful cabinet doors, elegantly painted with classical reserves, exemplify the Renaissance Revival style of the period and are possibly the work of Pierre-Victor Galland (1822-1892), a Parisian painter who was often commissioned by the firm to paint fanciful Renaissance-style scenes.
The patterns used for the detailed inlay on the cabinet are found on documented Herter examples from this same period, such as a console table made for the William H. Vanderbilt residence and a similar tripartite cabinet made for a “Mrs. Cobby” of New York, which is documented by a bill of sale from the firm in the collection of The Currier Gallery of Art in Manchester, New Hampshire.
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. 30-32, 92, 151, 154-155.



214. American Renaissance Ebonized, Gilt Incised and Ormolu‑Mounted Rosewood Center Table, c. 1870, attr. to Pottier & Stymus, New York, inset variegated marble top, floral marquetry border, scrolling supports, turned standard, circular base with animal mask mounts, downswept scrolled legs, h. 28 1/2 in., w. 37 1/2 in., d. 33 1/2 in. $3000/5000



215. American Renaissance Ebonized, Gilt‑Incised and Ormolu‑Mounted Rosewood Center Table, c. 1870, attr. to Pottier & Stymus, New York, inset rose marble top, floral border, scrolling supports, turned standard, circular base with animal mask mounts, downswept scrolled legs, h. 28 1/2 in., w. 37 1/2 in., d. 33 1/2 in. $3000/5000



216. American Aesthetic Carved Rosewood Slipper Chair, c. 1880, attr. to Frederick Krutina, New York, sunflower‑carved splat, incised stiles and legs, conforming pierced base, casters, h. 38 in., w. 19 in., d. 18 1/2 in. $1000/1500

217. American Aesthetic Carved Maple Armchair, c. 1900, New York, marked "Neuman & Co./Furniture and Decorations, 263 Fifth Avenue, New York", rectangular padded back, arms and seat, spindled arm supports, scrolled uprights, tapered legs, paw feet, casters, h. 38 1/2 in., w. 29 1/2 in., d. 27 in. $700/1000
Provenance: Mrs. Charles Gardner Lathrop, Stanford, CA and Washington D.C.



218. American Arts and Crafts Carved Oak Bench, c. 1901‑1906, stamped "Rose Valley" for Rose Valley Shops, Pennsylvania, molded top centered by a pierced handle, shaped gothicized legs, conforming stretcher, h. 22 1/2 in., w. 28 in., d. 15 in. $400/600



219. Spanish Colonial Leather Chest, probably 18th c., embossed foliate motif, scalloped edges, carrying handles, decorative iron latch, h. 18 1/2 in., w. 34 1/2 in., d. 20 in. $400/600
Note: The workshops of Rose Valley, founded by architect William Lightfoot Price near Moylan, Pennsylvania, produced Gothicized Arts and Crafts furniture from 1901 to 1906. In line with the ideology of the Arts and Crafts Movement, Price’s Gothicized furniture designs were based on his idea of “structural theory,” where the style of a piece of furniture was based on its construction.
Ref.: “Everything on the Table.” americandecorativeart.com/internalpages/chatter/table/
index.html. Accessed January 4, 2018.

220. American Renaissance Carved Walnut Pedestal, late 19th c., rouge marble top, paneled sides and door, chamfered corners, interior fitted for sheet music, plinth base, h. 37 in., w. 20 in., d. 20 in. $400/600



221. American Aesthetic Carved Mahogany Partner's Desk, late 19th c., molded top, foliate‑carved frieze, pedestals with four drawers on each side, disc feet, h. 30 in., w. 60 in., d. 42 in. Note: Lacking inset leather top. $1200/1800



222. Pair of Louis XV‑Style Bronze‑Mounted Kingwood Vitrines, molded shaped cornice, mirrored back, glazed door and side panels, shaped skirt, cabriole legs, h. 71 in., w. 43 1/4 in., d. 17 in. $7000/10000



223. Antique Italian Carved Fruitwood and Walnut Center Table, octagonal top, conforming frieze, scrolled supports, turned and fluted standard, circular plinth base, h. 33 1/4 in., w. 33 in., d. 34 in. Note: Old Italian shipping label on underside of top. $500/1000

224. Madoura Pottery Plate by Pablo Picasso (Spanish, 1881‑1973), "Taureau, marli aux feuilles (Bull, Rim with Leaves)", A.R. 394, conceived 1957, terracotta with black engobe, stamped, marked and numbered "Edition / Picasso / 51/500 / Madoura" and "Edition / Picasso / Madoura / Plein Feu", dia. 9 1/4 in. $2000/3000
Exh.: "Fired by Imagination: Picasso Ceramics from New Orleans Collections", New Orleans Museum of Art, New Orleans, LA, 1998 and "Picasso Ceramics", Lauren Rogers Museum, Laurel, MS, 2013.
Ref.: Ramié, Alain. Catalogue of the Edited Ceramic Works 1947‑1971, No. 394.



225. Pair of Bronze‑Mounted Sevres‑Style Porcelain Covered Urns, 20th c., spurious marks, painted with the infant Cupid with Psyche and landscapes, raised gilt decoration throughout, h. 16 in., w. 9 1/4 in. $400/600

226. French Art Deco Shagreen Table Clock, early 20th c., silvered dial marked "BULLE‑CLOCK/ BREVETE S.D.G.D/ PATENTED", arched case, ivory bun feet, h. 7 3/4 in., w. 8 1/4 in. d. 3 3/8 in. Note: Modern movement. $700/1000

227. French Gilt and Patinated Bronze Annular Clock, c. 1900, movement marked "P. Grenon, France", driving two enamel chapter rings, time indicated by a coiled serpent, green marble base, h. 9 1/4 in. $700/900



228. Charles X Inlaid Mahogany Console, early 19th c., shaped black marble top, frieze drawer, beaded foliate urn pedestal, dolphin supports, shaped plinth, paw feet, h. 34 in., w. 58 in., d. 24 1/2 in. $1500/2500

229. Louis XVI‑Style Bronze‑Mounted Mahogany Bureau Plat, 20th c., stamped "Lampre, Paris", top with outset corners, inset leather writing surface, frieze drawer, fluted and tapered legs, brass cuff feet, h. 28 3/4 in., w. 43 3/4 in., d. 24 in. $400/600

230. Continental Neoclassical‑Style Brass‑Mounted Mahogany Commode, Egyptian marble top, columnar stiles, three drawers, square tapered legs, h. 34 in., w. 44 1/2 in., d. 23 in. $800/1200



231. Leon Jean Basile Perrault (French, 1832‑1908), "Child with Kittens", 1886, oil on canvas, signed and dated lower right, 44 in. x 32 3/4 in., framed with artist and title plaque. $40000/60000
Note: A student of William-Adolphe Bouguereau and Francois-Edouard Picot, Leon Jean Basile Perrault honed his artistic skills at the Acadmie des Beaux-Arts and Académie Julien in Paris. While well-regarded for his military, religious and allegorical paintings, he is most celebrated for his genre scenes of beautiful children such as the one offered in the lot presented here. The young girl sits atop a stone ledge, on her lap are three kittens, and to her side is the mother cat tending to her brood. In rendering the figure of the girl, Perrault utilizes a classic triangular composition to capture an idealized vision of a peasant child in the countryside, popular in Salon paintings of France during the time period. His subject is dressed in simple clothes and barefoot, although has the flawless skin and coral necklace of a wealthier class. She bears a knowing smile while gazing directly at the viewer, the end result a touchingly intimate portrayal of simple French country life.



232. Fine Chinese Huanghuali and Hongmu Low Table, Kangzhuo, Qing Dynasty (1644‑1911), rectangular paneled top, pierced waist, bat and cloud carved apron, cabriole legs, scroll feet, gessoed and lacquered underside, h. 14 in., w. 37 1/2 in., d. 27 in. $30000/50000
Provenance: Florida Collection.

233. Pair of American Aesthetic Carved Mahogany Slipper Chairs, c. 1885, possibly Ohio, reticulated spider web motif back, incised seat rail, tapered legs, flared brass cuff feet, h. 31 in., w. 18 1/2 in., d. 17 in. $2500/3500
Note: A similar chair is in the collection of the Boston Museum of Fine Arts.



234. Continental Carved and Inlaid Oak Cabinet, 19th c., stepped cornice, paneled doors, spiral‑turned columnar stiles, shelf interior, base with six drawers, shaped aproned bracket feet, h. 78 1/4 in., w. 52 in., d. 21 in. $700/1000



235. Eugenio Amus (Italian, 1834‑1899), "Shipwreck on the Coast", 1894, oil on canvas, signed and dated lower left "Reeves and Sons, London" canvas stencil en verso, 18 in. x 24 in., framed. $2500/3500



236. Alexandre Calame (Swiss, 1810‑1864), "Paysage de Montagne", oil on canvas, signed lower right, 19 1/4 in. x 25 1/2 in., antique frame. $3000/5000
Provenance: Collection of Brazilian engineer Joaquim Eugenio de Lima.
Note: Studying with landscape painter Francois Diday, Alexandre Calame began exhibiting his works in 1835. Calame was particularly known as for his paintings of the Swiss Alps, which combined naturalistic details and the German Romantic style of the Dusseldorf school.
The atmospheric effects in the background of the painting offered here are delicately rendered, creating a hazy mist covering the distant mountains. In the foreground, Calame employs his characteristic play of dark and light, highlighting the herd of cattle with a soft palette of naturalistic greens and browns.



237. Pair of Chinese Hardwood Waisted Corner‑Leg Stools, Fangdeng, Qing Dynasty (1644‑1911), square paneled top, high shaped stretchers, scroll feet, h. 19 in., w. 16 in., d. 16 1/4 in. $10000/20000



238. Pair of Chinese Hardwood Side Tables, Qing Dynasty (1644‑1911), square paneled top, openwork foliate frieze, medial shelf with cloud scroll apron, h. 31 1/2 in., w. 16 in., d. 16 in. $10000/20000



239. Ashley Longshore (American/Louisiana, 20th c.), "Eat Me", 2007, oil and lacquer on canvas, signed lower left, 48 in. x 72 in., framed. $8000/12000
Note: In the painting offered here, the delightful array of edible treats with the tongue-in-cheek title “Eat Me” alludes, among other things, to Ashley Longshore’s celebration and criticism of modern consumerism. With a bold and colorful palette that mirrors the personality of the artist herself, Longshore enjoys exploring “American ambition from a female perspective.” Her canvases are packed to excess with vibrant, borderline brash imagery of pop culture often paired with eyebrow-raising phrases. Her resulting oeuvre is cheeky, whimsical, over the top and serves as an homage to American capitalism through the eyes of a female Pop Artist.
Ref.: Posner, Liz. “This New Orleans Pop Artist Pokes Fun At Trophy Wives And Tells Women To Get To Work: BUST Interview.” BUST. www.bust.com. Accessed Dec. 19, 2017. Studeman, Kristin Tice. “Meet Blake Lively's Bestie and New Orleans' Most Badass Artist, Ashley Longshore.” ELLE. Oct. 11, 2017. www.elle.com. Accessed Dec. 19, 2017.

240. Hunt Slonem (American/Louisiana, b. 1951), "Javas 6", 1990, oil on canvas, signed, titled and dated en verso, 30 in. x 40 in., unframed. $4000/6000

241. Withdrawn

242. Jose‑Maria Cundin (Spanish/New Orleans, b. 1938), "El Escibalo", 1970, oil on canvas board, signed, dated and inscribed upper left, 9 1/2 in. x 8 in., framed. $1800/2500



243. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), "Circus Series 83‑25", 1983, mixed media on canvas, signed and dated lower right, "Arthur Roger Gallery, New Orleans" label with artist, title and date en verso, 36 in. x 49 in., framed. $20000/30000
Provenance: Arthur Roger Gallery, New Orleans; Corporate Collection, Dallas, TX.

244. Clarence Millet (American/Louisiana, 1897‑1959), "Chartres St. at Toulouse St., French Quarter", oil on canvas board, unsigned, chalk inscription "Bragg" and remnant of French frame label en verso, 16 in. x 18 in., framed with artist plaque. $6000/8000



245. Maurice Brazil Prendergast (American/Massachusetts, 1858‑1924), "Random Figures", oil on paper, signed lower left, 4 1/2 in. x 6 1/2 in., framed. $6000/8000
Provenance: Cline‑Owings Fine Art Auction, LTD., Santa Fe, NM, Sept. 1997.



246. Enrique Alferez (American/Louisiana, 1901‑1999), "Female Bust", terracotta, unsigned, h. 17 3/4 in., w. 11 1/4 in., d. 7 in., wood base, overall h. 19 3/4 in. $1500/2500

247. Enrique Alferez (American/New Orleans, 1901‑1999), "Standing Cloaked Woman", terracotta, unsigned, h. 28 1/4 in., w. 9 1/2 in., d. 4 1/2 in., wood base, overall h. 30 1/4 in. $10000/15000

248. Clark Hulings (American/New Mexico, 1922‑2011), "Rope Weavers of Belmonte", 1987, oil on canvas, signed and dated lower left, partial "Fenn Galleries Ltd., Santa Fe" label and handwritten inscription on reverse of frame, 12 in. x 24 in., framed. $15000/25000
Provenance: Fenn Galleries, Santa Fe, NM.
Note: Beginning his career as a portraitist in Baton Rouge, Clark Hulings, who studied at the Art Students League in New York with Frank Reilly, eventually made his name as a painter and illustrator. A master of portraying textures through his ability to capture light and shadow on the canvas, Hulings enjoyed “seeing the beauty in daily human gestures and activities.” In the current lot, Hulings’ mastery of textures is clearly apparent in the treatment of the various surfaces, including the peeling paint on the wall behind the figures, the rocky soil upon which they sit, and the rope. A tranquil and captivating scene, Hulings certainly captures the peaceful, rhythmic gestures of an everyday task.
Ref.: Hulings. https://www.clarkhulings.com/biography. Accessed Aug. 3, 2017.



249. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), "Frontispiece #1 ‑ Study for Outdoor Sculpture", 1991, acrylic on wood, signed and dated on the bottom, h. 16 3/4 in., w. 12 1/4 in., d. 6 1/2 in., rotating Plexiglas case, h. 19 1/2 in. $4000/6000



250. Victor Vasarely (French/Hungarian, 1906‑1997), "Iboya Series", polystrene collage on wood sculpture, signed on lower gray and green square, "Editions Pyra AG Zumikon Switzerland/Vasarely" label on base, edition of 50, h. 33 1/2 in., w. 5 7/8 in., d. 5 7/8 in. $1200/1800
Provenance: Collection of Judy and the late Morris (1939‑2017) Massey, New Orleans.



251. Pedro Friedeberg (Mexican, b. 1936), "Airplane", wooden rulers and mixed media papier‑mâché assemblage, signed mid‑left on body of plane, h. 8 1/4 in., w. 20 1/2 in., d. 17 in. $2000/3000
Provenance: Collection of Judy and the late Morris (1939‑2017) Massey, New Orleans.



252. John T. Scott (American/New Orleans, 1940‑2007), "Abstract Kinetic Sculpture", painted metal, unsigned, h. 46 1/2 in., w. 41 in., d. 12 in. $6000/8000
Provenance: Collection of Judy and the late Morris (1939‑2017) Massey, New Orleans.
Note: John Scott’s vibrantly colored, dynamic artwork spans many media, with his kinetic sculpture perhaps the best known and most beloved by collectors. In the work offered here, the bright hues, carefully choreographed movement and abstract forms capture the elusive feel of New Orleans, a city with whom the artist was intricately connected. Scott was born in New Orleans and raised in the Lower Ninth Ward, and after college, the artist served as a Professor of Fine Art at Xavier University for forty years. As Richard Powell states: “New Orleans embodies an influx, an improvisatory entity – not only people and portraits, but streets, structures, and urban planning that defy social regimentation or aesthetic comportment. As it turns out, the art of Scott is similarly errant.”
Ref.: Powell, Richard J. Circle Dance: The Art of John T. Scott. New Orleans: New Orleans Museum of Art, 2005. “John T. Scott: His Legacy.” Arthur Roger Gallery. Aug. 8, 2017. www.arthurrogergallery.com. Accessed Dec. 19, 2017.

253. John T. Scott (American/New Orleans, 1940‑2007), "Just Two (Street Dancer), Diddlie Bow Series", painted brass kinetic sculpture, h. 33 in., w. 10 1/2 in., d. 11 in. $2000/3000
Provenance: Galerie Simonne Stern, New Orleans, 1984; Koch Collection, Metairie, LA.
Note: Well-known artist and professor, John T. Scott was one of New Orleans' greatest contemporary artists and an important figure in the art community. After attending Michigan State University for his graduate degree, Scott returned to New Orleans to join the faculty at Xavier University in 1965, where he taught for forty years.
During his career, Scott's style of sculpture and the materials used varied; the most recognizable being his kinetic sculptures, which he began creating with the “Diddlie Bow” series in 1983. Often incorporating his African-American heritage into the symbolism behind his works, Scott found inspiration in the stories he heard about “traditional African hunters who used their hunting bows in musical absolutions following the killing of their prey.” The movement of the sculptures, which sway in the wind, resembles the rhythms throughout a piece of music, in addition to referencing the “diddley bow,” a one-stringed musical instrument affixed to a porch or wall, commonly found in the Mississippi Delta.
Ref.: Powell, Richard J. Circle Dance: The Art of John T. Scott. New Orleans: New Orleans Museum of Art, 2005.

254. John T. Scott (American/New Orleans, 1940‑2007), "Border Crossing I", 1985, painted bronze kinetic sculpture, unsigned, h. 14 in., w. 35 in., d. 2 1/2 in. $2000/3000
Provenance: Galerie Simone Stern, New Orleans, 1985; Koch Collection, Metairie, LA.



255. Fletcher Benton (American/California, b. 1931), "Untitled #5", 1989, varnished steel, signed and dated on inner curvature, h. 22 in., w. 51 1/2 in., d. 20 in., pedestal, overall h. 41 1/2 in. $4000/6000
Provenance: Collection of Michael Brown and Linda Green, New Orleans.
Ill.: Lucie‑Smith, Edward. Fletcher Benton. New York: Harry N. Abrams, Inc., 1990, p. 288.
Note: Bulgarian-born painter Peter G. Ray has a modernist sensibility that is evident in the execution of his splendidly vivid canvases. Ray shows remarkable control of his improvisational style in how he manipulates the drips and scrapes of paint, creating works rich in energy with anthropomorphic tendencies. This is particularly evident in the canvas offered here. The colors practically vibrate against one another as they swirl and meld into a borderline synesthetic visual cacophony.



256. Alex Beard (American/Louisiana, b. 1970), "Apples and Pears", 1998, oil on canvas, signed lower right, 54 in. x 38 in., framed. $5000/8000
Note: A native of New York who has spent many years calling New Orleans home, Alex Beard has added to the New Orleans art world with his “Abstract Naturalism” painting style, which often includes elements of nature as the subject matter. Beard’s works, in both ink on paper and oil on canvas, can range from stylized, yet representational depictions of natural elements to almost fully abstracted representations with repetitive imagery that verge on tessellations, such as the current lot, “Apples and Pears.” With a great appreciation for the natural world and wildlife, particularly endangered animals, Beard often includes plants and animals in his paintings, examining the interconnections between culture and environment.

257. Alex Beard (American/Louisiana, b. 1970), "Masai Warrior", ink on paper, signed lower right, 14 1/2 in. x 11 in., framed. $2000/3000
Note: In addition to his interest in wildlife conservation and “Abstract Naturalism,” Alex Beard has shown a great interest in travel and the study of various cultures. Exploring the connections in the world between wildlife and culture, Beard uses his experiences in nature to develop his artistic style and complexity. Working in pen and ink here, “Masai Warrior” displays Beard’s technical skills in ink drawing, combining layers of abstract shapes that combine to form a lion-like face, proud and fierce.

258. Melissa A. Smith (American/Louisiana, 20th c.), "Louisiana Landscape", oil on canvas board, signed en verso, 6 in. x 22 3/4 in., mounted on fabric‑covered board. $1000/1500
Provenance: Collection of Judy and the late Morris (1939‑2017) Massey, New Orleans.

259. Archie Held (American/California, b. 1955), "Slim", 1993, bronze and mixed media water sculpture, unsigned, h. 70 in., w. 31 in., d. 18 in. $4000/6000
Provenance: Weinstein Gallery, San Francisco, 1993; Koch Collection, Metairie, LA.
Note: Archie Held has been sculpting out of his home base in Richmond, California since the 1970s. Held’s most oft-chosen media are bronze and stainless steel, often with a water element involved. “Water is the basic common denominator we all share – water adds life.” His 1993 creation offered here, “Slim” showcases Held’s main sculptural preoccupations: simple elegant designs utilizing the permeance of metals with the addition of water to add vitality and complement the timelessness of his designs. In describing the inspiration for his works, “I am drawn to forms that embody the essence of growth and strength.”
Ref: “Press.” Archie Held Studio. www.archieheld.com. Accessed July 21, 2017.



260. Timo Arturi Solin (Finnish/Sweden, b. 1947), "Staende Kvinna (Standing Woman)", patinated and polished bronze, signed and inscribed "3/4 E.A." lower right (rear foot), h. 22 1/2 in., w. 21 in., d. 11 in. $2000/3000
Provenance: Collection of Michael Brown and Linda Green, New Orleans.
Note: Strong, goddess-like women dominate the work of artist Timo Solin. Born in Finland, Solin has spent most of his life in Stockholm, Sweden. He worked first as a painter and graphic artist, before devoting himself exclusively to sculpting in the 1980s. Influences from his background in design can be seen through his sculptural forms, often referred to as “drawings in space.” His early creations, first in wood and later in bronze, also echoed the style of Henry Moore with whom he corresponded. By the mid-1980s, Solin began working with metal to create his distinctive sculptures of the female form for which he would achieve international fame. Solino brings lightness and movement to the metal, defying the natural state of the medium to capture the striding figure in motion with a strong use of positive and negative space and sensuality of line and form.
Ref.: “Words on” and “In Words”. www.timosolino.com. Accessed July 12, 2017.



261. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), "Lady of the Night", 1978, fabric and mixed media assemblage, signed and dated underneath, h. 12 1/2 in., w. 4 in., d. 4 in., custom Plexiglas case, overall h. 14 3/4 in. $800/1200
Provenance: Collection of Judy and the late Morris (1939‑2017) Massey, New Orleans.



262. West Indies Carved Lemonwood Petite Armoire, 19th c., Trinidad, molded cornice, paneled doors, fluted stiles, later shelf interior, turned feet, h. 64 1/8 in., w. 48 in., d. 21 5/8 in. $1200/1800
Provenance: The Sturm Collection.
Note: The lemonwood petite armoire offered here features beautifully figured paneled doors and a stylishly streamlined form indicative of the Louis XVI and Classical influences coming from Europe and the United States practiced by Caribbean cabinetmakers. This armoire is nearly identical to a circa 1850 armoire from Trinidad illustrated in West Indian Antique Furniture of the Lesser Antilles by Philip Sturm.
Ref.: Sturm, Philip. West Indies Antique Furniture or the Lesser Antilles, 1740-1940. Antique Collectors’ Club: Suffolk, 2011, p. 72.

263. American Late Federal Carved Mahogany Poster Bed, early 19th c., foliate and acanthus‑carved posts, scrolled headboard, plain rails, turned legs, brass ball feet, h. 96 in., l. (interior) 75 1/2 in., w. 54 in. $1500/2500



264. American Federal Carved Cherrywood Desk, late 18th/early 19th c., slant‑front lid with fitted interior, four graduated drawers, shaped bracket feet, bat wing brasses, h. 41 in., w. 33 3/4 in., d. 17 in. $500/1000

265. American Federal Inlaid Mahogany Demilune Sideboard, late 18th/early 19th c., probably New York, fitted with drawers and cupboards, tapered legs, spade feet, h. 36 in., w. 75 1/2 in., d. 29 3/4 in. $1000/2000



266. Jean Joseph Vaudechamp (French, 1790‑1866, act. New Orleans, 1831‑1839), "Portrait of a Lady in a Fur Stole", 1828, oil on canvas, signed and dated lower left, canvas stencil "Age. Ottoz, Eleve de Mr. Belot, Rue de la Michodiere, Paris, No. 2. A. Paris" and handwritten label "M. Gadon, 1 piece, 73 x 60, de vernis, rectoy (?) restauration vernis" en verso, 28 3/4 in. x 23 1/2 in., period frame. $8000/10000
Note: Before Jean Joseph Vaudechamp traveled to New Orleans, he studied at the École des Beaux-Arts under Anne-Louis Girodet (1767-1824) and established himself as a portrait painter in Paris. Vaudechamp soon made a name for himself depicting wealthy, fashionable citizens of Paris, and in 1831, he traveled to New Orleans, where portraitists were highly sought within the Creole community. The lady depicted here wears a classic 1830s style dress with an off-the-shoulder neckline, gathered bodice, natural waist, and sheer, puffed sleeves. Her luxurious dress, fur stole, and gold jewelry indicate that she is a woman of the upper class. Vaudechamp applies his flawless technique to depict the woman’s porcelain skin, the various fabrics of the dress, and the short fur of the stole to create a sophisticated portrayal of a prominent French woman.



267. Attributed to Charles Giroux (French/New Orleans, 1828‑1885), "Seated Native American Woman", oil on board affixed to cradled wood panel, unsigned, typed label "Painted by C. Giroux ‑ c. 1850", pencil‑inscribed "Altmayer" and "Chilton's, Mobile, Ala" label en verso, 9 3/4 in. x 4 3/4 in., framed. $5000/7000
Provenance: The Jay P. Altmayer Family Collection, Mobile, AL. Note: Arriving in New Orleans around 1860, Charles Giroux quickly began painting his favorite subject, Louisiana landscapes. The majority of his works center around the local countryside, making use of Giroux’s romantic, luminous palette. In the rare and fascinating painting offered here, a Native American woman sits in front of a thatched hut, which would have been the preferred summer residence in Southern Louisiana, facilitating better air flow. The various tribes in the Louisiana/Mississippi area, including the Caddo, Atakapa, Tunica, Natchez, Chitimacha, and Choctaw, used the natural materials around them to build shelters and also to create beautiful works of functional art, including bead work and basket weaving. Here, Giroux illustrates a beautiful landscape and a unique window into 19th c. life in Louisiana.

268. Fine American Classical Silver Teapot, Anthony Rasch (1778/80‑1858), act. Philadelphia 1804‑1820, New Orleans, 1820‑1858, marked "ANTY RASCH/STERLING SILR", squared form with mushroom finial, palmette borders and suppressed ball feet, h. 7 1/2 in., w. 10 5/8 in., wt. 28.25 troy ozs. $1500/2500
Ref. Hollan, Catherine M. Philadelphia Silversmiths, p. 164; Crescent City Silver, pp. 76‑81; Keyser, "Fashionable Goods from a Credible Source: Anthony Rasch, Silversmith and Merchant", University of Delaware, 2007.

269. American Coin Silver Fiddlethread Ladle, William Gale & Son, New York, 1851, ret. Gregg, Hayden & Co., Charleston, downcurved handle with French style shoulder with oval bowl, the upperface engraved in script "S. & V. Tupper" marked "GREGG HAYDEN & CO" in a rectangle, "G & S" in an oval above a circle above a lozenge dated 1851, l. 13 1/4 in., wt. 10.45 troy ozs. $800/1200
Provenance: Samuel Yeadon Tupper, Charleston.



270. Lieutenant John Ross, "Course of the Mississippi, from the Balise to Fort Chartres; Taken on an Expedition to the Illinois, in the latter end of the Year 1765...", London, printed for Robert Sayer, 1775, copper‑plate engraved map with hand‑coloring in outline, 44 1/4 in. x 13 1/2 in., unframed. $1200/1800

271. Sebastian Munster, "TYPUS ORBIS UNIVERSALIS" and "ALTERA GENERALIS TAB. SECUNDUM PTOL", Basel, 1550, two woodcut maps with later coloring, from the second edition of Cosmographia, the first with wood carver David Kandel's initials, sea monsters and ships : each with 12 wind heads and Latin text, verso, 11 in. x 15 in. and 10 in. x 13 1/2 in., unframed. $1500/2500

272. Johann Baptiste Homann, "Amplissimae regionis Mississipi seu Provinciae Ludovicianae...", c. 1707‑1724, Nuremberg, copper‑plate engraved map, 19 1/4 in. x 22 5/8 in., matted and framed. $1000/1500 Note: Known as the "Buffalo" map, and based on Delisle's seminal work, this map features a title cartouche depicting a buffalo skin and colonial explorer Father Louis de Hennepin, a vignette of a beaver colony at Niagara Falls, and another cartouche with Indians flanking a stylized standing buffalo.

273. Guillaume De L'Isle, "Carte du Mexique et de la Floride...Cours et Environs de la Riviere de Mississipi", Paris, 1703, first edition, third state (Quai de l'Horloge), 18 3/4 in. x 25 1/2 in., unframed. $700/1000

274. Jean Covens and Corneille Mortier, "Carte de la Louisiane et du Cours du Mississipi Dressee sur un grand nombre de Memoires...Par Guillme. de L'Isle", Amsterdam, 1730, hand‑colored engraved map, after De L'Isle's seminal map, the first to name Texas (Mission de los Teijas), 17 3/4 in. x 23 1/4 in., unframed. $800/1200



275. William Henry Buck (Norwegian/Louisiana, 1840‑1888, act. New Orleans, 1869‑1888), "Settlement along a Louisiana Bayou", 1878, oil on canvas, signed and dated lower right, 11 7/8 in. x 24 in., period giltwood frame. $80000/120000
Provenance: Estate of Harry T. Howard III, New Orleans, LA. Note: Throughout his career William Henry Buck created the most expansive known body of work in the 19th century portraying the rivers, lakes, and bayous of New Orleans and its surrounding areas. Buck's masterful skill in painting landscapes is quite evident in the work offered here in the exquisite and subtle luminosity, the effects of light and shadow, and the carefully composed composition. The scene is dominated by a live oak tree - a hallmark of Buck’s landscapes; the sky is also given special attention with shades of cerulean blue and scattered clouds. Buck’s use of fine brushwork and careful attention to detail is especially successful for his rendering of a settlement along the horizon line. The painting exemplifies Buck’s skill as a colorist and painter – creating an enchanting vision of a Louisiana bayou.



276. Large American Federal Carved Mahogany Poster Bed, early 19th c., tester frame, spiral‑turned posts with floral‑carved blocks, shaped and paneled headboard, turned legs and feet, h. 98 1/2 in., l. 72 in., w. 60 in. $7000/10000

277. American Late Classical Carved and Gilded Mahogany Pier Table, early 19th c., attr. J. & J.W. Meeks, New York, marble top, molded frieze, scrolled supports, mirror back flanked by pilasters, exuberantly carved plinth, turned feet, h. 33 in., w. 43 1/2 in., d. 18 1/2 in. $1500/2500
Note: Several features of the pier table offered here are notably similar to Late Classical furniture made by New York cabinetmaker Joseph Meeks, as illustrated by Wendy Cooper in Classical Taste in America: 1800-1840. The pier table’s exuberantly scrolled supports are a prominent feature of Meeks furniture, which is evident in several forms illustrated in a Joseph Meeks & Sons trade advertisement from 1833. Cooper notes that the elaborate curvature defines Meeks’ Late Classical furniture and marks it as “a distinctive American product.” (Cooper, 217).
Ref.: Cooper, Wendy A. Classical Taste in America: 1800-1840. Abbeville Press: Baltimore, 1993, pp. 210-217.

278. Laurie and Whittle, "The United States of America with the British Possessions...divided with the French, also the Spanish Territories of Louisiana and Florida", London, 1794, hand‑colored engraved map, the cartouche surmounted by the Stars & Stripes, to the left the text of Article III of the Treaty of Paris outlining the fishing rights of the U.S., 17 3/4 in. x 19 3/4 in., unframed. $700/1000



279. Alfred Gault (American/New Orleans, b. 1840), "Valley of Yumuri, Cuba", oil on canvas, signed lower right, 34 in. x 51 in., period ebonized and gilt‑decorated cove frame with brass title plaque. $40000/60000
Note: Born in New Orleans in 1840, Alfred Gault had a career as an artist in New York as early as 1870. Though the artist’s biography is presently limited, his views of Cuba and Morocco, as well as his 1875 passport application and his mention in Lippincott's Magazine as a participant in the 1880 Paris Salon tell us that he certainly traveled to various countries and captured scenes of a number of exotic locales.
The highly detailed view of the Yumuri Valley that Gault has captured in the monumental painting offered here draws the viewer into the scene, where the vast expanse of land is dotted with palm trees and tiny details, such as the plantation building in the middle of the composition and the smoke stack near the horizon line. A man stands in the foreground with an oxen-drawn cart, waiting to be loaded with crops - perhaps tobacco or sugar cane.
The history of Cuba during the 19th century is full of attempts at independence, which finally succeeded in 1898 with the conclusion of the War of Independence, when Spain and the United States reached an agreement to renounce any claims on Cuba. An earlier attempt at revolution, the Ten Years’ War, which took place from 1868-1878, was key in leading up to the ultimate fight for independence. The Yumuri Valley is near Matanzas, an important area sought after by the insurgents fighting Spanish control during the Ten Years’ War and afterward. While the Ten Years’ War was ultimately unsuccessful – the rebels were victorious in overtaking the eastern side of the island, but could not gain control of key areas such as Matanzas, Havana, and Pinar del Rio – this revolution led to further attempts later in the century. By January of 1896, the rebels had invaded these crucial provinces and reached the westernmost tip of the island, triumphing in gaining independence for Cuba.
Other artists painting scenes of Cuba have used a similar format to the one here for depicting the vast landscape - a panoramic view with a low horizon line and details to wonderfully show off the beautiful rolling hills, white puffy clouded skies, and verdant foliage of the Cuban landscape. Artists such as Winslow Homer, Edmund Darch Lewis, Esteban Chartrand, and Miguel Arias painted in Cuba, and many of them recorded parallel scenes. The allure of the Cuban landscape has clearly always fascinated those who travel there looking for beauty to capture on canvas.
Ref.: Bondil, Nathalie, ed. Cuba: Art and History from 1868 to Today. Montreal: Montreal Museum of Fine Arts, 2008; Libby, Gary R. Cuba: A History in Art. Gainesville: University Press of Florida, 1997.



280. Knute Heldner (Swedish/New Orleans, 1877‑1952), "Fishing in the Bayou", oil on canvas, signed lower left, "The Little Gallery, Newark, N.J." label en verso, 20 in. x 27 in., framed. $5000/7000 Provenance: Purchased from the artist.



281. George Frederick Castleden (British/New Orleans, 1861‑1945), "The Galleries of the Cabildo Courtyard, New Orleans", oil on canvas board, signed lower left, 14 in. x 9 3/4 in., framed. $2000/3000

282. Alexander John Drysdale (American/New Orleans, 1870‑1934), "Live Oak Trees on the Bayou", oil wash on board, signed lower left, 15 1/2 in. x 25 1/2 in., framed. $2000/3000

283. Howard Cook (American/Massachusetts, 1901‑1980), "Alabama Negro Baptism", c. 1920s, pastel and graphite on paper, signed, titled and partial date "192" lower right, sight 32 3/4 in. x 24 3/4 in., framed. $3000/5000

284. Walter Palmer (American/New York, 1854‑1932), "Lady Hanging Wash on a Line, Stately Manor House", 1894, oil on canvas, monogrammed and dated lower right, 11 in. x 14 1/4 in., unframed. $1500/2500

285. George Rodrigue (American/Louisiana, 1944‑2013), "Three's a Crowd", 1996, silkscreen, signed and numbered "97/100" lower left, 33 in. x 21 in., framed. $1200/1800
Ill.: Rodrigue, George and Wendy Wolfe. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007. New York: Abrams, 2008, p. 156.

286. George Rodrigue (American/Louisiana, 1944‑2013), "53rd Presidential Inaugural, Featuring President Bill Clinton and Vice President Al Gore (Walking into the 21st Century)", 1997, silkscreen, signed, stamped signature of Clinton and Gore, official inaugural seal, and pencil‑inscribed "Presidential Edition, 287/1000" lower margin, 38 in. x 24 in., framed. $800/1200
Ill.: Rodrigue, George and Wendy Wolfe. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007. New York: Abrams, 2008, p. 224.



287. George Rodrigue (American/Louisiana, 1944‑2013), "Pop Goes the Revel: Official Poster for the Red River Revel, Shreveport, LA", 1998, silkscreen, pencil‑signed, numbered "195/1000" and remarqued lower margin, 32 in. x 24 in., framed. $1000/1500
Ill.: Rodrigue, George and Wendy Wolfe. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007. New York: Abrams, 2008, p. 214.

288. George Rodrigue (American/Louisiana, 1944‑2013), "Strato Lounger", 1993, silkscreen, signed and numbered "53/90" lower right, 34 in. x 24 in., framed. $1500/2500
Ill.: Rodrigue, George and Wendy Wolfe. George Rodrigue Prints: A Catalogue Raisonné 1970‑2007. New York: Abrams, 2008, p. 91.

289. George Rodrigue (American/Louisiana, 1944‑2013), "Pick of the Litter: Black", 1996, silkscreen, signed and numbered "12/75" lower left, edition of 75 plus artist proofs, 21 in. x 27 in., framed. $1500/2500

290. William Gropper (American, 1897‑1977), "Swing Low, Sweet Chariot", 1951, lithograph, pencil‑signed lower right, signed in plate lower left, edition of 250, 12 1/2 in. x 18 5/8 in., matted. $400/600

291. Clementine Hunter (American/Louisiana, 1886‑1988), "Still Life with Zinnias", oil on board, monogrammed lower right, "Everest Gallery, Memphis, TN" label en verso, 23 in. x 16 in., framed. $2000/3000



292. Clementine Hunter (American/Louisiana, 1886‑1988), "Cleaning Day at the African House, Melrose Plantation", oil on board, monogrammed mid‑right, "Eleanor M. Worsley, M.D." handwritten en verso, 16 in. x 24 in., framed. $4000/6000
Provenance: Estate of Dr. Eleanor M. Worsley, Natchitoches, LA; Neal Auction Co., Sept. 24, 2016, lot 243.



293. Knute Heldner (Swedish/New Orleans, 1877‑1952), "Sharecroppers", 1943, oil on canvas, signed lower right, signed, monogrammed, titled and dated on label on reverse of frame, 31 in. x 25 in., original frame. $2500/3500
Provenance: Neal Auction Co., Oct. 6, 2007, lot 512.
Note: Making his way from Verderslov, Sweden to New Orleans, Knute Heldner had many stops throughout his new country – Boston, Massachusetts, Duluth and Minneapolis, Minnesota, and Washington, D.C. were just some of the cities visited by the artist before he arrived in New Orleans for the first time in the winter of 1923. After their stay in New Orleans, he and his wife, Colette, decided to make it their winter home, spending summers in Duluth. Throughout his travels, Heldner, a religious man by nature, held a variety of jobs including cabin boy, shepherd, woodland guide, dishwasher, and cook in a lumber camp. This variety in employment allowed Heldner to interact with diverse groups of people and experience their hardships. One of his main goals in painting was to attempt to reach people through his art and inspire a reaction connecting the adversity in everyday life with a sense of divine purpose. The idea of finding God through art is not an uncommon one and can be seen in a number of Heldner’s works, both religious and secular. The current lot, depicting a family in a mule-drawn cart, the mother nursing a young baby, calls to mind the Biblical story of the Flight to Egypt; framing the plight of the contemporary poor as a modern day Holy Family. Heldner’s lifelong passion for spirituality and social idealism are deeply felt through this empathetic portrait of a working class family.

294. James Edward Allen (American/Louisiana, 1894‑1964), "Prayer for Rain (Ryan 33)", 1938, lithograph, pencil‑signed lower right, inscribed and "Ed 40" lower left, 10 1/2 in. x 14 in., framed. $1000/1500

295. Ellsworth Woodward (American/New Orleans, 1861‑1939), "Marie (Boyer 55)", etching on paper, initialed "E.W." in plate lower right, "Dr. J. W. Nelson, Gonzales, LA" label en verso, 9 3/4 x 8 in.; together with Morris Henry Hobbs (American/Louisiana, 1892‑1967), "St. Peter St., Orleans", etching on paper, pencil‑signed and titled in margin, sight 6 1/4 in. x 4 3/4 in., both framed. (2 pcs.) $400/600

296. Caroline Wogan Durieux (American/Louisiana, 1896‑1989), "Revelations", 1944, lithograph on paper, pencil‑signed, titled, dated and inscribed "printed by the artist ‑ 20 prints" lower margin, 15 x 12 1/4 in., unframed. $700/1000

297. Caroline Wogan Durieux (American/Louisiana, 1896‑1989), "Exit", 1944, lithograph on paper, pencil‑signed, titled, dated and inscribed "printed by the artist ‑ 10 prints ‑" lower margin, 17 1/4 in. x 13 3/4 in., unframed. $700/1000



298. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), "For the Grecian Gala", 1981, offset chromolithograph, signed and dated "1980" in plate, pencil‑signed, titled, dated and numbered "1/350" lower margin, 16 in. x 15 1/2 in., framed. $500/700

299. Jacqueline Bishop (American/Louisiana, b. 1955), "Field Guide 2", 2011, linocut print on paper, pencil‑signed, titled, dated and numbered "16/20" lower margin, 7 3/4 in. x 5 3/4 in., framed. $400/600

300. Clarence John Laughlin (American/Louisiana, 1905‑1985), "The Timeless Stone", 1954, vintage silver gelatin print on board, signed and titled on board, photographer's stamp, notes and inscribed "To Gretchen + A.C. Lansford, with all good wishes for 1955‑C.J.L." and dated en verso, image 7 3/4 in. x 9 3/4 in., unframed. $300/400 Provenance: Collection of Gretchen and Alonzo Lansford, New Orleans.

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