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Information below is the lot/description information from our Louisiana Purchase Auction, November 23 & 24, 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 201-300

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201. Alexander Juliard (French, b. 1817), "Portrait of a Seated Young Lady Holding a Book", 1846, oil on canvas, signed and dated lower left, 51 in. x 38 1/4 in., original carved giltwood frame.[$3000/5000]
Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.



202. Vittorio Amadeo Preziosi (Maltese, 1816-1882), "Market near Mihrimah Sultan Mosque", 1875 and "Street Scene, Kemer, Turkey", 1875, 2 watercolors on paper laid on board, former signed, dated and inscribed "Souvenir de l'Artiste a son amie W.H. Wrench" lower right, localized lower left. [$7000/10000] latter signed and inscribed "Souvenir de l'Artiste" lower right, localized and dated lower left, 11 3/4 in. x 15 3/8 in. and 15 3/8 in. x 11 3/4 in., framed alike. (2 pcs.)
Note: Born in Malta to a noble family, Amedeo Preziosi studied at the Ecole des Beaux-Arts in Paris before traveling to Istanbul in the 1840s to begin his career as a painter. Mainly working in watercolor, Preziosi quickly became known for his captivating scenes of local architecture and people in Turkey and Romania.
The beautifully rendered paintings presented here depict two street scenes in Istanbul neighborhoods, one of which includes the Mihrimah Sultan Mosque in the distance. With its iconic windows and minaret, the Mihrimar Sultan Mosque, which is located in the Edirnekapi neighborhood of Istanbul, was designed by architect Mimar Sinan in the 16th century and commissioned by Princess Mihrimah, the daughter of Suleiman the Magnificent.
Preziosi captures both of the street scenes with intricate detail, including figures and animals, as well as depicting traditional Turkish residential architecture with second floor projections and lattice covered windows. A strong sense of light and shadow, as well as delicate brushwork, produce a lasting impression of the city of Istanbul as it would have existed in the late 1800s.



203. Sebastian Theodorus Voorn Boers (Dutch, 1828-1893), "Still Life and Nature Morte with Flowers, Grapes, Citrus, and a Basket of Fowl on a Table", 1855, oil on canvas, signed and dated lower left, 20 1/2 in. x 25 in., framed. [$1500/2500]

204. Continental School, 19th c., "The Recital", oil on canvas, indistinctly signed lower right, 36 5/8 in. x 48 1/4 in., period frame. [$3000/5000]

205. Continental School, 19th c., "Battle Scenes", 2 oils on paper laid on panel, both unsigned, one pencil-inscribed, and wax seal en verso each, 6 3/8 in. x 8 3/4 in., framed alike. (2 pcs.) [$1200/1800]

206. Pair of Continental Giltwood Figures of Angels, taller h. 20 in., w. 9 1/2 in., d. 9 in. [$800/1200]



207. Pair of Empire-Style Bronze-Mounted Cassolettes, late 19th c., ram's head mounts, hoof feet, h. 16 in., w. 7 1/2 in., d. 7 1/2 in. [$2000/3000]



208. Large Grand Tour Bronze Urn, 19th c., scrollwork handles, reliefs of Classical figures, mounted on variegated green marble base, h. 20 1/4 in., w. 11 1/2 in., d. 9 in. [$600/900]



209. Pair of Antique Italian Carved and Polychromed Blackamoor Torcheres, male and female figures, elaborately decorated, tall drapery carved pedestals, h. 89 in., w. 19 in., d. 22 in. [$8000/12000]

210. Continental Bronze-Mounted Marble Table Lamp, 20th c., baluster body, scroll handles, h. (to socket) 23 in., w. 10 in., d. 7 in. [$200/300]

211. Pair of Continental Carved Giltwood Hall Lanterns, 19th c., grape and scroll design, electrified, h. 35 in., w. 16 in., d. 16 in. [$2000/3000]

212. Large English Patinated Bronze Single-Light Argand Lamp, c. 1820, cut glass shade, body with leaves and palmettes, electrified, h. 18 1/2 in., w. 7 1/2 in., d. 10 1/4 in. [$2000/3000]

213. Fine American Rococo Carved Rosewood Cabinet, c. 1845, New York, reticulated crest, two mirror-back shelves with scrolled supports, marble top, frieze drawer above two mirrored doors, serpentine base, h. 63 in., w. 40 in., d. 18 in. [$800/1200]



214. Four American Classical Carved Mahogany Side Chairs, early 19th c., New York, foliate carved, reeded stiles, cornucopia-carved splats, saber legs, h. 32 1/2 in., w. 18 3/4 in., d. 19 in. [$1200/2000]
Note: The high-style chairs offered here are closely related to a well-documented group of klismos chairs attributed to New York cabinetmaker Duncan Phyfe. Featuring a similar foliate scrolled back, cornucopia-carved splat, and overall form, comparable chairs are conserved in the Philadelphia Museum of Art, Winterthur Museum, and the Metropolitan Museum of Art.
Ref: Feld, Stuart P. and Elizabeth Feld. The World of Duncan Phyfe. Hirschl & Adler Galleries, New York, 2011, p. 72, fig. 33.

215. American Classical Carved Mahogany Work Table, c. 1820, Philadelphia, labeled "Philadelphia...Isaac Pugh", shaped top, two drawers, foliate-carved saber legs, brass paw feet, casters, h. 30 in., w. 17 1/2 in., d. 14 in. [$600/900]

216. American Classical Carved Mahogany Pier Table, 19th c., Philadelphia, associated marble top, ribbon carved accents, frieze drawer, scroll supports with lamb's tongue paw terminals, mirrored back, shaped base, beehive feet, h. 35 in., w. 44 3/4 in., d. 17 1/4 in. [$2000/3000]



217. American Classical Carved and Stenciled Mahogany Dressing Table, early 19th c., Philadelphia, turned mirror supports, superstructure with bolection drawer, marble top, gadrooned apron, stenciled standard, foliate carved hairy paw feet, h. 75 in., w. 36 1/4 in., d. 22 1/2 in. [$1200/2000]



218. American Classical Mahogany Two-Part Dining Table, c. 1820, Baltimore, each section with drop-leaf top with reeded edge, frieze drawer, bulbous turned standard, reeded sabre legs, brass paw feet, casters, h. 29in., l. 133 1/4 in., w. 54 in. [$4000/6000]

219. American Classical Carved Mahogany Armchair, 19th c., scrolled back, lappet-carved arms and legs, scrolled feet, h. 36 in., w. 24 in., d. 21 1/2 in. [$400/600]



220. American Federal Inlaid Mahogany Sideboard, late 18th/early 19th c., shaped top, conforming case centered by drop-front fitted secretary with baize writing surface, over a long drawer, flanked by a drawer and cabinet to each side, tapered legs, h. 41 1/4 in., w. 66 1/4 in., d. 24 1/8 in.[$3000/5000]
Provenance: Israel Sack, NY, 1944; Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

 



221. American Classical Bronze-Mounted and Inlaid Mahogany Beau Brummel, c. 1810-1820, attr. to John Seymour, Boston, mirrored back, easel top, fitted side drawer, lower work basket, reeded legs, paw feet, h. 45 3/4 in., w. 19 1/2 in., d. 16 in. [$1000/1500]
Provenance: Didier, Inc.; Estate of David A. Wojciechowski; Neal Auction Company, April 13, 2019, lot 280.

222. Regency Carved Mahogany Architect's Desk, early 19th c., shaped backsplash, inset leather top with adjustable lift writing surface, four drawers, turned legs, casters, h. 33 in., w. 41 3/4 in., d. 26 1/4 in. [$800/1200]



223. George III Sterling Silver Hot Water Urn, George Smith (II) and Thomas Hayter, London, 1794, act. 1791-1804, urn form with knop finial, lion's mask and ring handles, flat chased and brightwork decoration, engraved crest of the Tarleton family of Church Hill, Liverpool, with motto "POST NUBILA PHOEBUS" ("after the clouds, sunshine"), spigot with urn-form finials, plinth base, ball feet, retains fitted liner and iron heating element, h. 19 3/4 in., wt. 114.10 troy ozs. Note: Sir Bannastre Tarleton, 1st Bt. (1754-1833). [$3000/5000] served as a British cavalry officer in the Revolutionary War

224. Victorian Sterling Silver Tea Service, incl. teapot, A.B. Savory & Sons (William Smily), London, 1863, associated open sugar and creamer, Elkington & Co., Birmingham, 1861, teapot h. 5 1/2 in., total wt. 43.35 troy ozs. [$1000/1500]

225. American Classical Carved Giltwood Overmantel Mirror, early 19th c., exuberant acanthus corner mounts, foliate surround, divided mirror plate, h. 26 in., w. 48 in . [$800/1200]

226. Rare American Federal Giltwood and Eglomisé Mirror, early 19th c., surmounted by a carved eagle and floral urns, hung with a wire and spherule garland, spherule cornice, shell carved frieze, cluster column supports, blocked base, h. 35 in., w. 15 1/4 in. [$800/1200]
Provenance: Israel Sack, Boston, MA; Valdemar F. Jacobsen Antiques, Cold Spring Harbor, NY, 1993; Estate of Stephen G. Henry, Jr., Baton Rouge, LA.

227. Pair of Antique Empire-Style Gilt and Patinated Bronze Three-Light Candelabra, after a design by Thomire. (2 pcs.) . [$1800/2500]



228. French Rococo Revival Gilt and Patinated Bronze Six-Light Gasolier, mid-19th c., foliate canopy, vasiform standard, three addorsed Classical female terms, scroll and acanthus arms, electrified, h. 52 in., dia. 42 in.[$7000/10000]
Provenance: Lucullus Antiques, New Orleans; 511 St. Ann Collection, Historic Pontalba, New Orleans. Note: One frosted glass shade is associated.

229. Pair of Empire Bronze-Mounted Tole Peinte Sconces, early 19th c., each with Classical bust terms, h. 18 3/4 in., w. 5 1/4 in., d. 9 1/4 in. [$700/1000]
Provenance: Sotheby's London, 2007.

230. Antique French Tole Peinte Lamp, floral decorated, adjustable height, h. 18 1/2 in., w. 11 in., d. 5 3/4 in. [$600/800]



231. French First Standard Silver Gilt and Cut Glass Center Bowl in the Restauration Taste, 19th c., maker's mark untraced, h. 4 1/2 in., dia. 11 1/4 in., wt. 27.25 troy oz. [$1000/1500]

232. Antique Cased French Silver Fish Serving Fork and Knife, maker CD untraced, with 1st standard hollow handle and silverplate blade, l. 10 1/8 in. and 11 1/4 in., in fitted case marked for retailer A.la Gerbe d'Ory, Avignon. [$200/400]

233. Cased Set of Twelve French First Standard Silver Coffee Spoons and Sugar Tongs, G. Marmuse, Paris, 3rd qtr. 19th c., retain some gilt wash details, fitted gilt tooled leather case marked for retailer Louis Delarue, Rouen; together with cased set of 6 Victorian sterling teaspoons and sugar tongs, Charles Lias, London, 1846, bright-cut decoration, combined wt. 13.85 troy ozs. [$300/500]



234. Rare Anthony Rasch Coin Silver Flatware Service, c. 1821-1836, act. New Orleans 1820-1858, marked "A.RASCH." in rectangle, incl. 12 table forks, 12 tablespoons, 12 teaspoons and 2 master salt spoons, upturned fiddle pattern, monogrammed on reverse "DK" in script for Duncan Kenner l. 8 3/8 in., total wt. 44.80 troy ozs. (38 pcs.)[$4000/6000]
Provenance: Descended in the Family of Duncan Kenner (1813-1887), Ashland Plantation; Neal Alford Company, Nov. 5, 1988, lot 126, 127 & 128.

235. Fine American Classical Coin Silver Coffee and Tea Service, Thibault & Brothers, Philadelphia, act. 1810-1836, incl. coffee pot, 2 teapots, covered sugar and creamer, with panther finials, eagle's head spouts and acanthus decoration, coffee pot h. 12 1/4 in., total wt. 165.45 troy ozs. [$3000/5000]
Provenance: Neal Auction 1990s.
Ref: Hollan, Catherine B. Philadelphia Silversmiths and Related Artisans to 1861, pp. 199-201.

236. Savannah Coin Silver Presentation Tureen, cartouche engraved "The Democrats of Savannah/ To/Franklin Pierce/President of the United States/from 1853 to 1857" and "In grateful memory of/his/Faithful Adherence/to/the Constitution/of/his Country"; by George B. Sharp for Bailey & Co., Philadelphia, act. 1844-1870, marked "BAILEY & Co" in arc, over "136" over "CHESTNUT ST PHILA" in complementary arc over trademark; grape, grape leaf and vine handles, floral and rocaille chasing, h. 9 in., l. 15 1/8 in., wt. 65 troy ozs. [$12000/18000]
Note: Part of a seven-piece dinner service presented to former President Franklin Pierce by Georgia Senator Robert Toombs on behalf of the citizens of Savannah. The soup tureen and a detail of the covered vegetable dish are illustrated in Telfair Museum of Art: Collection Highlights, pp. 296-297

237. Good Group of Antique American Sterling Silver Serving Pieces, incl. George B. Sharp, Philadelphia berry scoop, pat. 1863; Reed & Barton "Les Six Fleurs" salad serving fork and spoon, pat. 1901; Whiting "Heraldic" asparagus fork, pat. 1880; Baker-Manchester "Lafayette" berry spoon, pat. 1898; and vintage motif grape shears; total wt. 23.50 troy ozs. [$400/600]

238. Whiting "Lily" Sterling Silver Flatware Service, pat. 1902, incl. 9 forks, (l. 7 5/8 in.), 8 knives, (l. 9 1/8 in.), 7 forks, (l. 6 3/4 in.), 4 knives, (l. 8 7/8 in.), 20 dessert spoons, 8 bouillon spoons, 7 butter knives (hh), 7 teaspoons, 6 cocktail forks and 4 tablespoons. (80 pcs.) [$2500/3500]



239. Louisiana Classical Cuban Mahogany Tester Bed, c. 1830-1845, canted cornice, ring-turned baluster posts, paneled headboard surmounted by a naturalistic carved rolling pin rail, tapered legs, brass ball feet, h. 115 in., l. 84 in., w. 60 in. [$15000/25000]
Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.
Ill: Holden, Jack. et. al. Furnishing Louisiana. The Historic New Orleans Collection, 2010, p. 386, fig. 13.
Note: The Creole-style high-post bed in the present lot exhibits many features distinctive to Louisiana beds made during the American late Classical period. The bed’s combination of baluster-form and stacked ring posts, matching volute-carved rolling pin, and bulbous brass ball feet are indicative of the blend of French, Anglo, and West Indies influence unique to Louisiana furniture. The motifs of the bed shown here are apparent on earlier Louisiana beds, however, by the 1830s, Louisiana cabinetmakers were applying exuberant proportions to these earlier forms.
Ref: Holden, Jack, et al. Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835. The Historic New Orleans Collection, 2010, pp. 368, 382-386, fig. 13.

240. Louisiana Carved Mahogany Daybed, c. 1820-1835, outswept returns, ring-turned baluster supports, tapered ring-turned legs, brass ball feet, h. 33 1/2 in., l. 72 in., w. 28 in.[$1500/2500]
Provenance: Bunkie, Avoyelles Parish, LA. (Tony Griffin); 511 St. Ann Collection, Historic Pontalba, New Orleans. Ill.: Holden, Jack. et. al. Furnishing Louisiana. The Historic New Orleans Collection, 2010. p. 389, fig. 18.



241. Monumental American Classical Carved Mahogany Armoire, c. 1840, probably New Orleans, stepped molded cornice, with egg and dart molding, two doors, ogee door surround bordered by turned decoration, lower drawer, scrolled bracket feet, h. 102 in., w. 65 in., d. 27 in.[$3000/5000]
Provenance: Beauregard Keyes House, New Orleans; 511 St. Ann Collection, Historic Pontalba, New Orleans.



242. American Late Federal Mahogany Plantation Desk, early 19th c., leaf carved pediment above two glazed doors, foldover slanted writing surface, two frieze drawers, spiral turned legs, h. 75 in., w. 35 1/2 in., d. 21 1/2 in. [$700/1000]



243. American Classical Stenciled, Gilt and Carved Mahogany Pier Table, c. 1830, New York, marble top, molded frieze, incurvate apron, blocked corners, Ionic capitals, marble columns, three part mirrored back, shaped lower plinth, carved foliate bracket feet, h. 34 1/2 in., w. 41 in., d. 17 in. [$1500/2500]



244. American Classical Brass-Mounted Mahogany Sideboard, early 19th c., New York, retail label "Sypher & Co....593 Broadway, N.Y.", molded fluted backsplash, keyed baluster gallery, one long drawer flanked by two side drawers, four cabinet doors, turned reeded legs, brass ball feet, h. 51 1/2 in., w. 71 3/4 in., d. 23 1/2 in. [$2000/3000]
Note: The New York firm of Sypher & Company opened in 1866 as one of the first American dealers of antiques and objets d’art and specialized in early American furniture. They rose to prominence during the peak of the Gilded Age and sold to important New York clients including John D. Rockefeller and Cornelius Vanderbilt. Furniture with Sypher & Co. labels are conserved in the collections of museums including The Metropolitan Museum of Art, the Museum of the City of New York, and the Gardner Museum in Boston.
Ref: Sypher, F.J. “Sypher & Co., A Pioneer Antique Dealer in New York.” Furniture History, Vol. 28 (1992), pp. 168-179.

245. Withdrawn



246. American Classical Mahogany Chest, early 19th c., reeded stiles, four drawers, reeded legs, brass ball feet, h. 46 in., w. 45 in., d. 21 1/4 in. [$500/1000]
Provenance: Didier Inc., New Orleans.



247. American Classical Stenciled Carved and Rosewood-Banded Mahogany Games Table, early 19th c., probably New York, foldover swivel top, ring-turned and foliate-carved legs, turned and blocked stretcher centered by lyre support, outswept paw feet, casters, h. 29 1/2 in., w. 36 in., d. 18 in . [$1500/2500]



248. American Late Classical Carved Mahogany Library Chair, 19th c., New York, C-scroll mounted crest rail, tufted back, outswept acanthus carved padded arms, foliate carved scroll feet, casters, h. 40 1/2 in., w. 30 in., d. 34 in. [$700/1000]

249. Withdrawn



250. William Weeks Hall (American/Louisiana, 1894-1958), "After Rain/Louisiana Landscape", oil on canvas, signed, titled, inscribed "New Iberia, La" and "The Pennsylvania Academy of the Fine Arts One Hundred and Twenty-Ninth Annual Exhibition in Oil and Sculpture 1934" exhibition label with artist and title on stretcher, 36 in. x 29 3/4 in., framed. [$12000/18000]
Note: William Weeks Hall was a prominent artist, art critic, photographer, gardener and lecturer, and he was the last private owner of Shadows-on-the-Teche, his family home located on Bayou Teche in New Iberia, LA. Hall won a scholarship in 1913 to the Pennsylvania Academy of Fine Art, where he was a student until 1918. He also studied abroad in London and Paris from 1920 to 1922, following his service in World War I. Hall became the sole owner of the Shadows at the age of twenty-five, and the remainder of his life, with only brief interruption, was spent restoring and preserving the property. Shadows-on-the-Teche was built by Hall’s great-grandfather, David Weeks, in the 1830s, and Hall used family papers and a complete set of construction records to restore the home to its original appearance, including an extensive period garden. He often invited famous writers, artists and filmmakers for weekend visits to the Shadows, and several movies were filmed on site. When Hall died in 1958, he bequeathed the home to the National Trust for Historic Preservation.
Hall’s coveted paintings are rarely offered at auction, particularly those with such an outstanding exhibition history and provenance. “After the Rain/Louisiana Landscape” was once owned by Hunt Henderson, the noted New Orleans art collector who inherited the Henderson Sugar Refinery that his father had founded in 1876. Henderson, his wife Jeanne, and his son Charles, lived at 1410 Second Street and were known for their collection of nineteenth and twentieth century art. Hunt and Jeanne Henderson were both trustees of the Isaac Delgado Museum, and Henderson’s sister, Sarah Fink Henderson, was also a financial supporter and served as president of the Arts and Crafts Club of New Orleans. As Hall both exhibited at the Delgado Museum in 1928 and taught classes at the Arts and Crafts Club, it is not at all surprising that the Hendersons would have purchased works by Hall, one of the most talented Louisiana artists of the twentieth century.



251. William Weeks Hall (American/Louisiana, 1894-1958), "Still Life of Flowers", oil on canvas, unsigned, inscribed on stretcher, 40 in. x 53 in., framed. [$6000/8000]



252. Alexander John Drysdale (American/New Orleans, 1870-1934), "Autumn Afternoon, New York", oil on canvas board, signed lower right, signed and titled en verso, 18 in. x 20 in., framed. [$7000/10000]
Note: Sponsored by a mysterious benefactor, Alexander John Drysdale moved to New York City in 1901 and remained there for a three-year period of study at the Art Students’ League. In addition to taking art classes, Drysdale found himself immersed in the cultural richness of the city, where he gleaned insight from fellow artists such as Helen Maria Turner, Robert Henri, John Singer Sargent, and William Merritt Chase. Drysdale found inspiration in their rapid painting techniques and mastery of color. He would employ those methods in developing his own unique style – one that has become indelibly associated with his landscapes. The painting offered here is from that finite and rare body of work he produced while in New York. “Autumn Afternoon: New York” showcases the artist’s early implementation and experimentation with the skills that he would later hone to develop his trademark aesthetic. Characterized by quick, loose brushstrokes and powerful dark colors, this landscape serves as a fascinating precursor to the bayou scenes for which the artist would become renowned.
Ref.: Buechner, M. D., Howard A. Drysdale (1870-1934) Artist of Myth and Legend. Metairie, LA: Thunderbird Press, Inc., 1985. pp. 7-19.



253. Alexander John Drysdale (American/New Orleans, 1870-1934), "Cows in a Pasture", 1890, oil on canvas, signed and dated lower left, 14 in. x 20 in., framed. [$4000/6000]



254. Joseph Rusling Meeker (American/Louisiana, 1827-1889), "Bayou Marsh with Hunters at Campsite at Dusk", 1885, oil on canvas laid on masonite, signed and dated lower left, "Saint Louis Art Museum" label en verso, 13 5/8 in. x 23 5/8 in., framed.[$12000/18000]
Provenance: Ex-collection Saint Louis Art Museum, St. Louis, MO.
Note: Throughout his travels in the southern United States in the 1860s and 70s, Joseph Meeker created a vast number of sketches that he then brought to his studio in St. Louis, where he completed his archetypal atmospheric landscape paintings. Based on French Barbizon and American Tonalism styles, Meeker’s painting technique in the painting offered here depicts an expansive sky, clouds reflecting the colorful sunset, and lush trees and greenery. Meeker’s landscapes, filled with marshy wetlands and Spanish moss, reflect Louisiana topography and seldom feature human figures. The inclusion of hunters in this spectacular landscape denotes a rare and special composition in Meeker’s oeuvre.

255. Withdrawn



256. Fine Empire Gilt and Patinated Bronze "Au Bon Sauvage" Mantel Clock, c. 1800, attr. to Jean-Simon Deverberie (1764-1824), figure personifying America, draped with pearls and quiver, holding a bow, a spear in her other hand piercing an alligator, silk-thread movement, base mounted with serpents and garlands, toupie feet, h. 19 1/4 in., w. 15 in., d. 6 1/8 in. [$25000/35000]
Ref: Kjellberg, Pierre. Encyclopedie de La Pendule Francaise..., Paris, Les Editions de l'Amateur, 1997, p. 352



257. Clarence Millet (American/New Orleans, 1897-1959), "View of St. Louis Cathedral from Chartres St." and "View of Cabildo from Jackson Square", 2 oils on canvas board, signed lower right and left respectively, each 8 in. x 10 in., framed alike. (2 pcs.) [$6000/8000]



258. Clarence John Laughlin (American/Louisiana, 1905-1985), "The Enigma (Windsor Plantation)", 1945, silver gelatin print mounted to board, signed and titled lower margin of backing board, print date (June 19, 1945), negative and batch number in Laughlin's hand en verso of backing board, 19 7/16 in. x 15 1/16 in., framed. [$4000/6000]

259. Clarence John Laughlin (American/Louisiana, 1905-1985), "The Luminous Columns (#3) (Madewood Plantation)", 1945, silver gelatin print mounted to board, signed and titled lower margin of backing board, print date (June 18, 1945), negative and batch number in Laughlin's hand en verso of backing board, 14 1/16 in. x 19 1/6 in., framed.
Ill: Laughlin, Clarence John. Ghosts along the Mississippi. New York: American Legacy Press, 1987 revised edition, pl. 66. [$3000/5000]



260. Clarence John Laughlin (American/Louisiana, 1905-1985), "The Luminous Columns (#7) (Houmas House Plantation)", 1945, silver gelatin print mounted to board, signed and titled lower margin of backing board, print date (July 22, 1945), negative and batch number in Laughlin's hand en verso of backing board, 14 1/2 in. x 19 3/16 in., framed. [$3000/5000]



261. Clarence John Laughlin (American/Louisiana, 1905-1985), "The Guardian (Oak Alley Plantation)", 1946, silver gelatin print mounted to board, signed and titled lower margin of backing board, print date (June 22, 1946), negative and batch number in Laughlin's hand en verso of backing board, 19 3/16 in. x 13 15/16 in., framed. [$3000/5000]
Ill.; Laughlin, Clarence John. Ghosts along the Mississippi. New York: American Legacy Press, revised edition 1987, pl. 53.
Note: Clarence John Laughlin has often been credited as the first surrealist photographer working in the United States. Frequently misunderstood, he sought to use the camera not as “a recording device” but as “an extension of the 3rd eye.” Laughlin developed an interest in architecture, while working as a photographer for the United States Engineering Office located in the French Quarter of New Orleans. He combined this realist and formal form of photography with Surrealism, Symbolism, Romanticism and his love of literature to create images that are in turn mysterious, beautiful and bizarre; often employing enigmatic titles to enhance the etherealness of the images. Most famously are his photos of decaying plantation homes of the South. These images embody one of his main artistic aims - to show the links of human consciousness with material reality. These plantations symbolically embody the fears, desires and compulsions of the Old South that linger into the present day. Equally important is the historic preservation aspect of the photos, as many of the ruins photographed by Laughlin are now completely gone - leaving only these images as an important historical record. Laughlin’s ultimate goal with his art was to elevate the ruined buildings beyond mere objects and find the human lives caught within them: “My desire is to create a purely visual poetry…to probe the intangible psychological jungle in which every object is enmeshed.”
Ref: Parr, Leslie Gale. “Clarence John Laughlin.” 64 Parishes Encyclopedia of Louisiana. Oct. 21, 2016. www.64parishes.org. Accessed Oct. 14, 2019



262.[NEW ORLEANS SCENIC PHOTO ALBUM], c. 1892-94, comprising 30 albumen prints taken by Philip Ohlsen, with handwritten identifications, including views of Custom House on Canal St., Old Spanish Fort, Hunting Camp, Negro Camp and Lighthouse in Milneburg, Fountain in Washington Square Iced Over, View in Mandeville, Fountain in Lafayette Square Iced Over, Three Oaks Poultry Ranch, Chalmette, Poydras Plantation, Canal St. Ferry House, Chalmette Cemetery, Monuments in Metairie Cemetery, rare view of Monument of Battle of Liberty Place, St. Roch Chapel Covered in Vines, Railroad Views, Dueling Oak at City Park, Turning Bridge at Bayou St. John, St. Roch Cemetery, London Ave. Pumping Canal and other scenic views. [$5000/10000], sheets 4 1/2 in. x 7 1/2 in. or 7 1/2 in. x 4 1/2 in.



263. Jose Francisco Xavier de Salazar y Mendoza (Mexican/Louisiana, 1750-1802), "Portrait of an Important Spanish Colonial Official, likely Sebastian Nicolas Calvo de la Puerta y O'Farrill, Marques de Casa Calvo (1751-1820)", oil on canvas, unsigned, 42 in. x 32 3/4 in., framed. [$100000/150000]
Note: Born in 1751 in Havana, where his ancestors had immigrated from Spain in 1574, Sebastián Nicolás Calvo de la Puerta y O’Farrill (later the Marqués de Casa-Calvo) lived in a remarkable time. Trade routes, travel and a sense of interconnectedness across the Atlantic, Caribbean and Mexico transformed the world and those inhabiting it. Research into Casa-Calvo has been furthered recently by Gilbert Din’s extensive and enlightening biography of 2016. Din notes: “Much of what is presently known in the United States about Casa-Calvo has come from scattered American sources…The writers of the prominent American documents, Thomas Jefferson, James Madison, and William C.C. Claiborne, among others, regarded him as an adversary and disparaged him at the same time they schemed to seize adjacent territory in the Mississippi Valley from the crumbling Spanish Empire.” Din’s new research sheds light on Casa-Calvo as an important and loyal Spanish subject – an elegant gentleman, nobleman and military governor who was committed to protecting Spanish interests. The significant portrait offered here represents the only known image of the Marqués.
Casa-Calvo joined the military and became a cadet in a troop of dragoons led by Alejandro O’Reilly at the age of twelve. Studying all subjects military, Casa-Calvo earned his first officer’s rank six years later and was appointed Captain of his company of dragoons by O’Reilly during an expedition to New Orleans to contain a rebellion in 1769. He also served in the sieges of Mobile in 1780 and Pensacola in 1781 under the command of Bernardo de Gálvez. Casa-Calvo continued to rise in the Spanish Army throughout his life, attaining the ranks of Lieutenant Colonel, Brevet Colonel, and Brigadier General by 1794.
At the end of the war with the British, Casa-Calvo, who had inherited his parents’ substantial fortune and property in Cuba along with his brothers, spent time in Spain serving under King Carlos III and officially obtaining his title of Marqués in 1785. In 1789, Casa-Calvo returned to Cuba during a time of relative peace and was able to spend time with his family as well as petition for further career advances. He then joined the Spanish troops in Saint Domingue, where he acted as governor of Bayaja and gained valuable administrative and wartime experience.
In 1763, the Cession of Louisiana from France to Spain had effected an extremely important and formative time period for the Mississippi River region. Early governors under Spanish rule, such as Antonio de Ulloa, Alejandro O’Reilly, and Luis de Unzaga, met challenges maintaining order among the mostly French citizens and implementing new Spanish laws. Additional struggles included managing relationships with Britain and the early colonists who would eventually become citizens of the United States. In 1777, Bernardo de Gálvez became Governor of Louisiana, inheriting the numerous difficulties of this pivotal position. He was particularly engaged with British and American traders, each of whom wanted to maintain use of the important post of New Orleans and avail themselves of the route up and down the vast Mississippi River. Gálvez faced additional challenges when King Carlos III attempted to retake the British territories of Baton Rouge, Mobile, and Pensacola. The Spanish Army and Navy mounted an ultimately successful campaign using troops from Spain, Cuba, and Louisiana to overtake the British, at the same time secretly helping the American Revolutionary War by supplying goods and funds.
Esteban Rodríguez Miró, who had served in the Spanish Army under Gálvez, became the next governor of Louisiana in 1785, followed by Francisco Luis Héctor de Carondelet, Manuel Gayoso de Lemos, and Francisco Bouligny. Under these governors, Spain became uneasy about American expansion and the border issues between Spanish West Florida and the United States. In light of these concerns, Spain agreed to Pinckney’s Treaty of 1795 which established a border between the United States and the Spanish colonies and gave the United States rights to utilize the Mississippi River, including the port of New Orleans, for trading purposes.
By 1799, Casa-Calvo’s military knowledge and expertise had elevated him to amidst the highest ranking officials in the Spanish colonies. Casa-Calvo attained the rank of Brigadier General in 1794 and earned valuable experience fighting in New Orleans, Mobile, and Saint Domingue. Therefore, it is not surprising that when the governorship of Louisiana became vacant due to the illnesses of Gayoso and Bouligny, Captain General Salvador de Muro y Salazar, the Marqués de Someruelos, appointed Casa-Calvo as the interim military governor, taking responsibility not only for military issues, but also political and diplomatic duties. Working with the often contentious Nicolás María Vidal and Juan Ventura Morales, Casa-Calvo navigated a delicate political system while also governing the city of New Orleans and bolstering the Louisiana military.
In 1801, Governor Salcedo arrived in New Orleans, and subsequently Casa-Calvo was relieved of his official duties governing the colony and returned to Havana following a brief visit to Mexico City and Veracruz. After two years spent in Havana as the colonel of a regiment, Casa-Calvo was recalled to New Orleans to help ensure the smooth transition of the Louisiana Purchase. He was then the highest-ranking Spanish official remaining in New Orleans and oversaw all details pertaining to the removal of ships, troops, personnel, and records from the region. Din writes of Casa-Calvo: “On returning to New Orleans, he wanted to be perceived differently from his 1799-1801 stay, when he was the interim governor. This time impressing the inhabitants was important and, for this purpose, a personal entourage of about twelve soldiers and several servants accompanied him. He flaunted his wealth by bringing his ornate Spanish carriage from Havana and at least a pair of spirited thoroughbreds to pull it through the streets of New Orleans.
“Casa-Calvo’s final task was to survey the Louisiana-Texas border. With Spain holding territories west of Louisiana in addition to the Florida territories, the issue of where to draw the border between Texas and Louisiana was of critical concern to both Spain and the United States. A joint force of Spanish and American engineers, including expert cartographer Nicolas de Finiels, was created and the expedition began in October of 1805. This group surveyed the land surrounding the border, which had been declared at the Sabine River, and this demarcation remains there to this day permanently deciding the shape of the state of Louisiana.
As a strident supporter of Spanish interests, Casa-Calvo faced difficulties with the American governor William C.C. Claiborne, who ordered his departure from Louisiana in 1806. For his work with the Louisiana Purchase and surveying of the Louisiana/Texas border, King Carlos IV promoted Casa-Calvo to the rank of Mariscal de Campo, the equivalent of a Major General, in 1807 at El Escorial, the royal residence just outside of Madrid. Casa-Calvo never returned to Cuba; he died in 1820 in Paris and is buried at Père Lachaise Cemetery, although his descendants remain in Cuba and the United States to this day.
Of the twelve Spanish Colonial governors of Louisiana, all were high ranking officials in the Spanish military and many were noblemen. As such, when a portrait was painted of one of these prominent figures, the splendid uniform denoting the sitter’s rank was meticulously recorded. An expert on Spanish Colonial military uniform, René Chartrand writes: “Rank and corps was determined by the type, styles and metal colours of the buttons, buttonholes and of the embroidery. In this case [painting offered here], there is a single row of gold embroidery (of the specific pattern for generals) edging the collar, cuffs and lapels, which is the distinction of general officers holding the rank ofMariscal de Campo.” As noted,Casa-Calvo permanently received this rank in 1807, and his depiction here likely represents a brevet appointment to this higher position during his governorship of Louisiana. Casa-Calvo was known to delight in dress uniform and enjoy formal attire as befitting his rank and wealth. His uniform included a dark blue jacket faced with scarlet, matching scarlet breeches and ornately trimmed waistcoat, tricorn hat, walking stick and the key single row of gold embroidery on his jacket.
Salazar notably depicted the insignia of the Order of Santiago on Casa-Calvo’s coat. The Order of Santiago, a quite distinguished designation, is a religious and military order that existed from the 12th through 19th centuries and was rarely awarded to those living outside of Spain. By the year 1771, Casa-Calvo had applied for the Order of Santiago, a lengthy process which required an official genealogy report on the five previous generations of the applicant’s ancestors, as well as a substantial fee and promised future military service. Casa-Calvo was awarded the order in 1772 by dispatch, allowing him to wear the Order of Santiago insignia. The Marqués de Casa-Calvo is the singularly known recipient of this order to have served in the Louisiana Spanish Colonial government.
Salazar’s elegance of brushwork is evident in this portrait, particularly in the lace edging of the jabot and cuffs, strikingly similar to that of the lace trimmings in the artist’s portraits of Dr. Robert Dow, Charles Trudeau, and the Mendez family. The pose of the figure corresponds to a position of the subject in many Salazar portraits, with one hand tucked into the waistcoat, and Salazar’s characteristic use of red is on clear display in the sumptuous uniform.
The level of detail and additional number of accessories often directly correlate to the importance of the sitter in Salazar’s work, and in this particular instance, they also would seem to have special meaning regarding Casa-Calvo’s role as governor at the time of the painting. The silver encrier ties to his role as a high-ranking government official and nobleman who engaged in lengthy correspondence to maintain his properties in Cuba and military position. Bishop Luis Ignacio Maria Peñalver y Cárdenas (to whom Casa-Calvo was related through his 1781 marriage to the Bishop’s niece, María Luisa Peñalver y Navarrete, a native of Havana) has a silver encrier among his effects in his Salazar portrait, while Dr. Robert Dow was similarly painted with a quill and volumes of books. In the painting presented here, the books to the left of the sitter on the lowest shelf appear to be a set of Reflexiones Militares, by Álvaro Navia Osorio, the Marqués de Santa Cruz de Marcenado published from 1724-1730.
In this noteworthy portrait, Salazar created a lasting image of the affluence and nobility of the Marqués de Casa-Calvo, a multi-faceted individual who spent much of his life fighting to protect Spanish interests in the colonies and figured prominently in an era of historical trans-Atlantic travel and trade. Casa-Calvo devoted his life to military service while navigating in stylish fashion the delicate politics of Colonial and early American Louisiana. While devotedly Spanish in his origins, Casa-Calvo developed the makings of a true New Orleanian during his years in Louisiana, fully on display in an accounting of a public ball on January 8, 1804:
“…American rowdiness had produced a great commotion when the newcomers demanded more of their own kind of quadrilles, and the new governor [Claiborne] had attempted futilely to quell the unrest. Meanwhile, Casa-Calvo with his natural savoir faire offered several alarmed ladies his protection and served them gumbo all the while he somehow continued playing cards.”
Ref: Chartrand, René. Men-at-Arms: The Spanish Army in North America, 1700-1793. Oxford: Osprey Publishing, 2011; Din, Gilbert C. An Extraordinary Atlantic Life: Sebastián Nicolás Calvo de la Puerta y O’Farrill, Marqués de Casa-Calvo. Lafayette: University of Louisiana at Lafayette Press, 2016; Gontar, Cybèle, ed. Salazar: Portraits of Influence in Spanish New Orleans, 1785-1802. New Orleans: MPress Printing, 2018; Holmes, Jack D. L. “The Marqués de Casa-Calvo, Nicolas de Finiels, and the 1805 Spanish Expedition through East Texas and Louisiana.” The Southwestern Historical Quarterly. Vol. 69, No. 3 (Jan., 1966), 324-339; Quintera, Gonzalo. Bernardo de Gálvez: Spanish Hero of the American Revolution. Chapel Hill: The University of North Carolina Press, 2018.
Neal Auction Company would like to express their gratitude to Cybèle Gontar, René Chartrand, Gilbert Din, Jorge Auñón Prieto Calvo de la Puerta, and The Historic New Orleans Collection for their assistance with the research and cataloguing of this lot.

264. Jacques Guillaume Lucien Amans (French/Louisiana, 1801-1888), "A Creole Gentleman", 1841, oil on canvas, signed and dated upper left, 36 1/4 in. x 29 in., original frame. [$2500/4000]
Provenance: 511 St. Ann Collection, Historic Pontalba, New Orleans.
Ill: Bruns, Thomas Nelson Carter, Mrs., comp. Louisiana Portraits. New Orleans: The National Society of the Colonial Dames of America in the State of Louisiana, Historical Activities Committee, 1975, p. 296.

265. Attributed to Charles Giroux (French/New Orleans, 1828-1885), "Bayou Landscape with Cypress Trees", oil on cradled panel, unsigned, 9 1/2 in. x 4 5/8 in., period frame. [$3000/5000]
Provenance: Palmetto Hall, The Jay P. Altmayer Collection, Mobile, AL.



266. American School, 19th c., "The Delta Queen", oil on canvas, unsigned, titled and inscribed en verso, 14 1/8 in. x 36 1/8 in., framed. [$3000/5000]
"A stranger to this mode of travelling would find it difficult to describe his impressions upon descending the Mississippi for the first time in one of these steam boats…the fare is sumptuous and everything is in style of splendor, order, and regularity, far exceeding that of most city taverns."
-Timothy Flint, History and Geography of the Mississippi Valley, 1832
An exciting body of work by a previously undocumented 19thcentury maritime artist specializing in the portraiture of paddlewheelers has recently been identified. These steamboats hold a special place in the history and culture of the South. Historically, they were the main commercial and transportation portal of the South via the Mississippi River, allowing people and goods to be connected with neighboring states previously isolated. Culturally, they embodied a new era of progress and luxury transportation prior to the interstate highway and rail systems. Powered by a steam engine and propelled with stern or side wheels, paddlewheelers were sometimes deemed “floating palaces,” often drawing a crowd to the dock with their luxurious design and entertainment.
Six paintings of paddllewheelers have been identified by the hand of this artist: the “Eclipse,” “Eleanora,” “Fuegla,” “New Orleans River Company Express,” “Challenge,” and the “Bayou Belle.” With the “Delta Queen” and the aforementioned portraits, the artist works in a meticulous fashion with extreme attention to the details of the figures, railings, and ship accessories. The stylized renderings make this artist’s hand easy to identify, and the materials used and style of ship depicted dates this artist to roughly the 1870s.
Ref: Busch, Jason T., et al. Currents of Change: Art and Life Along the Mississippi River 1850-1861. Minneapolis, MN: The Minneapolis Institute of Arts in collaboration with the University of Minnesota Press, 2004



267. Knute Heldner (Swedish/Louisiana, 1877-1952), "On the Road to Market", 1936, oil on canvas board, signed lower left, signed, titled, dated, inscribed and "The Farish Art Store, Inc., New Orleans" label en verso, 15 3/4 in. x 20 in., framed. [$2000/3000]

268. Alexander John Drysdale (American/New Orleans, 1870-1934), "Live Oak and Pirogue", oil wash on board, signed lower right, 19 1/2 in. x 30 in., framed. [$3000/5000]



269. Marjorie Liebman (American/Tennessee, 1911-2007), "Harbor", oil on canvas, signed lower right, 25 in. x 30 in., framed.[$800/1200]
Provenance: John Stoakley, Memphis, TN, c. 1980s.
Note: An important Southern abstract expressionist, Marjorie Liebman studied under Hans Hofmann at the Art Students’ League in New York, as well as at the Chicago Art Institute and Washington University before receiving her BFA from the University of Mississippi and beginning her career in her native Memphis.
By 1953, Liebman’s work had been recognized throughout the United States, and she had been the subject of a solo show at the prestigious Betty Parsons Gallery in New York. The same year Liebman, along with fellow artists Adele Lemm, Dorothy Sturm, Nancy Glazer and art educator Mildred Hudson, founded the group Art Today, whose goal was to support contemporary art in the Memphis area. In addition to working with Art Today, Liebman also was a great proponent of the Memphis Brooks Museum, helping to build the collection and acquire works by fellow abstract expressionists such as Mark Rothko and Jackson Pollock.
The abstraction of shape and color in the rare canvas offered here suggests a sense of controlled chaos. The composition, slightly tilted with a high horizon line and lines jutting into the sky, emphasizes the expressionistic atmosphere and foreshadows Liebman’s later work in abstraction.

270. Morris Henry Hobbs (American/New Orleans, 1892-1967), "New Orleans (Harbor)", 1938, watercolor on paper, signed, titled and dated upper left, 8 15/16 in. x 11 15/16 in., matted. [$1000/1500]
Provenance: Descended in the family of the artist.

271. Morris Henry Hobbs (American/New Orleans, 1892-1967), "New Orleans (Patio)", 1943, watercolor on paper, signed, dated and titled lower right, 13 13/16 in. x 10 1/8 in., matted.[$800/1200]
Provenance: Descended in the family of the artist.

272. Clarence Millet (American/New Orleans, 1897-1959), "Southern Night", oil on canvas, signed lower left, signed and titled en verso and on backing paper, "Southern States Art League" label with artist and title on stretcher, 26 1/4 in. x 26 1/4 in., original frame. [$12000/18000]



273. Alberta Kinsey (American/New Orleans, 1875-1952), "French Quarter Patio with Figure", oil on canvas, signed lower right, 13 7/8 in. x 19 1/2 in., framed.[$1200/1800]
Provenance: Neal Auction Company, Nov. 21, 2014, lot 670.

274. Will Henry Stevens (American/Louisiana, 1881-1949), "No. 25, Rise and Turn", 1947, pastel on paper, pencil-signed and dated lower left, pencil-titled en verso, handwritten label with title and "Richard York Gallery" exhibition catalogue and article from 1987 on backing, 18 in. x 16 in., framed. [$3000/5000]

275. Marie Atkinson Hull (American/Mississippi, 1890-1980), "Autumn Landscape", oil on canvas board, signed lower right, 12 1/8 in. x 16 1/4 in., framed. [$2500/3500]

276. Marie Atkinson Hull (American/Mississippi, 1890-1980), "Deep Woods - Biloxi", oil on canvas board, signed lower left, signed and titled en verso, 12 in. x 16 in., framed. [$2500/3500]

277. Mildred Nungester Wolfe (American/Mississippi, 1912-2009), "The Traveler", watercolor on paper, pencil-signed lower left, 14 in. x 18 in., framed. [$800/1200]

278. Anne Wells Munger (American/Mississippi, 1862-1945), "Bit of Esplanade Ave.", pastel on board, signed lower left, pencil-titled and inscribed en verso, 11 in. x 8 in., framed. [$2000/3000]

279. Ellsworth Woodward (American/New Orleans, 1861-1939), "Evening Rothenburg", oil on board, signed lower left, titled en verso, "Jean Bragg Gallery" label with artist and title on backing paper, 22 in. x 14 in., framed; accompanied by copy of certificate of authenticity. (2 pcs.) [$4000/6000]
Provenance: Jean Bragg Gallery, New Orleans, 2004.
Note: Ellsworth Woodward was known for his dedication to the arts and depictions of familiar scenes of life in New Orleans and the surrounding areas. He also traveled extensively and completed, in watercolor and oil, varied views of cities and landscapes he visited in the United States and abroad. In the work offered here, Woodward illustrates the city of Rothenburg, Germany in the evening. The painting was likely completed after a summer spent in Europe in 1896, the same year May Mount wrote in Some Notables of New Orleans: “[Woodward’s] Bavarian pictures are as full of poetry as of the true expression of art.” In this work, the sun is setting as people meet beside the Plönlein or “little square,” one of the most popular gathering places in the old town. The distinctive architecture of the medieval Bavarian community has changed very little since the time of this painting, owing to some of the earliest laws prohibiting demolition and new construction. The scene may seem familiar to many as these exact buildings were used as template for the classic animated film Pinocchio.
Ref: Bragg, Jean Moore and Saward, Susan, PhD. Painting the Town: The Woodward Brothers Come to New Orleans. New Orleans: Jean Bragg Gallery, p. 230.

280. George Louis Viavant (American/Louisiana, 1872-1925), "Nature Morte: Squirrel", 1918, watercolor on paper, signed and dated lower left, 25 3/4 in. x 17 3/4 in., period frame.[$4000/6000]
Provenance: Neal Auction Company, Oct. 4, 2003, lot 1071.

281. Louisiana School, 19th c., "Portrait of a Lady", oil on canvas, unsigned, 30 in. x 25 1/8 in., framed. [$2000/3000]
Provenance: W.E. Groves Collection.



282. Alexander John Drysdale (American/New Orleans, 1870-1934), "Courtyard Garden", 1925, oil on canvas, signed and dated lower right, partial "Seebold / Art Dealer" label on stretcher, 26 1/8 in. x 21 in., framed. [$4000/6000]
Provenance: Acquired directly from the artist; thence by descent in the O'Kelley and Kerrigan Families, Pass Christian, MS and New Orleans, LA.
Note: While Alexander John Drysdale is primarily known for his misty, atmospheric landscapes, on rare occasions he painted portraits, seascapes, plantation houses, and French Quarter scenes. In such paintings, Drysdale maintained his technique, using hazy brushwork and a green and blue palette while experimenting with new subject matter. In the painting presented here, the location quite possibly is the courtyard behind Drysdale's studio at 322 Exchange Place in downtown New Orleans. The square top buildings with chimneys are a common architectural feature on that street, and Drysdale rented a studio there from the 1920s until the end of his life. While uncommon, paintings of particular New Orleans buildings were absolutely a part of Drysdale's oeuvre, and this scene shows a rare glimpse into the artist's daily life.

283. William Aiken Walker (American/South Carolina, 1838-1921), "Wash Day, Cabin Scene", oil on academy board, signed lower left, pencil-titled "Cabin", inscribed and partial "F.W. Devoe & Co., NY" label en verso, 9 1/4 in. x 12 1/4 in., framed.[$8000/12000]
Provenance: Neal Auction Company, July 16, 2016, lot 358. Note: To be included in John Fowler's forthcoming catalogue raisonne on William Aiken Walker



284. William Aiken Walker (American/South Carolina, 1838-1921), "Man on a Mule", oil on academy board, signed lower left, "Christie's" labels en verso, 8 in. x 12 in., framed.[$6000/8000]
Provenance: Christie's, New York, Rockefeller Center, Mar. 16, 1990, lot 52.
Note: To be included in John Fowler's forthcoming catalogue raisonne on William Aiken Walker

285. William Aiken Walker (American/South Carolina, 1838-1921), "Male Cotton Picker", oil on academy board, signed lower left, 12 3/8 in. x 6 1/4 in., framed. [$6000/8000]. Note: To be included in John Fowler's forthcoming catalogue raisonne on William Aiken Walker

286. William Aiken Walker (American/South Carolina, 1838-1921), "Female Cotton Picker", oil on academy board, signed lower left, 12 3/8 in. x 6 1/4 in., framed. [$6000/8000] Note: To be included in John Fowler's forthcoming catalogue raisonne on William Aiken Walker



287. Clarence Millet (American/New Orleans, 1897-1959), "Vegetable Vendor, Dumaine at Royal Street" and "Fruit Vendor at Courtyard Gate, French Quarter", 2 oils on canvas board, signed lower left and right respectively, each 8 in. x 10 in., framed alike. (2 pcs.) [$6000/8000]
Provenance: French Quarter confectioner Frank Anton Klorer (1876-1946), New Orleans, LA; thence by descent; Neal Auction Company, Nov. 10, 2011, lots 336 and 367.

288. Newton Reeve Howard (American/New Orleans, 1912-1984), "Bayou Landscape with Fishing Camp", 1980, oil on panel, signed and dated lower left, 11 in. x 14 in., framed. [$2500/3500]
Note: Newton Howard was a 1929 graduate of the Tulane University School of Architecture. Finding it difficult to obtain work as an architect during the Depression and having had an interest in art since childhood, he enrolled at the Art Institute of Chicago. He eventually returned to his native New Orleans with the Works Progress Administration, serving as the supervisor for the construction of Monkey Hill in Audubon Park. He later worked at Fitzgerald Advertising as an art director, pursuing his passion for fishing, duck hunting and conservation whenever possible. Many of Howard’s paintings reflect these often solitary hobbies. The work presented here depicts a fishing camp on an island, with no visible connection to a larger landmass. A dock from the camp leads to an endless background of calm green with no delineation between water and sky. Howard paints the scene as a lovely haven from the outside world and its intrusions.



289. George Rodrigue (American/Louisiana, 1944-2013), "Ode to Clopha and Coco", 1993, oil on canvas, signed lower right, titled, inscribed and artist stamps on stretcher, artist label with title and artist stamps on reverse of frame, 24 in. x 30 in., framed.
Ill: Rodrigue, George and Lawrence S. Freundlich. Blue Dog. New York: Viking Studio Books, 1994, ch. 10. [$30000/50000]
Note: George Rodrigue never abandoned a subject or his heritage, continuing to paint Cajun scenes even during the height of his Blue Dog series. The captivating painting from 1993 offered here demonstrates this point, as it could easily date to twenty years earlier in the artist’s career. Rodrigue returned to his earlier, dark palette and classic bayou landscape to depict a timeless tale…
“It [Ode to Clopha and Coco] illustrates the Cajun tale of the fisherman who all his life had stalked the most powerful and wily alligator in the bayou. Each day, for many years, fisherman and alligator pitted their skills and strength against one another. They had learned one another’s greatness and the hunt had given dignity to their lives. Then one day, the fisherman caught the alligator. He strung him up to dry. Now the fisherman had his trophy, but his life was hallow without his companion spirit.” - George Rodrigue
Ref: Rodrigue, George and Lawrence S. Freundlich. Blue Dog. New York: Viking Studio Books, 1994, ch. 10



290. George Rodrigue (American/Louisiana, 1944-2013), "Acadian Landscape", 1996, acrylic on canvas, signed lower left, inscribed en verso, artist stamp with date on stretcher, 16 in. x 20 in., framed. [$12000/18000]
Provenance: Galerie Blue Dog, Carmel, CA.



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

292. George Bauer Dunbar (American/New Orleans, b, 1927), "Heart", moongold leaf on red and black clay, signed lower center, 25 1/2 in. x 21 7/8 in., framed. [$6000/8000]



293. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), "Becalmed", 1959, oil on masonite, signed lower right, signed and dated en verso, partial "Ruth White Gallery, New York, NY" label on stretcher, 30 in. x 24 in., framed. [$12000/18000]

294. Pat Trivigno (American/Louisiana, 1922-2013), "Tabby Cat on Textiles", 1994, oil on canvas, signed and dated lower right, 42 in. x 29 in., framed. [$1800/2500]

295. Henry Casselli (American/New Orleans, b. 1946), "The Angel Gabriel", 1974, oil on paper, pencil-signed, titled and dated upper center, 29 5/8 in. x 22 1/4 in., framed. [$3000/5000]

296. Henry Casselli (American/New Orleans, b. 1946), "Untitled: Angel Series", 1974, oil on paper, signed and dated lower left, 29 3/4 in. x 22 1/4 in., framed. [$2500/3500]

297. Henry Casselli (American/New Orleans, b. 1946), "Po-Boy Fruit Stand", charcoal on paper, signed upper left, 15 1/4 in. x 22 3/4 in., unframed. [$1200/1800]

298. Hunt Slonem (American/Louisiana, b. 1951), "Cockatoos", 1993, oil on canvas, signed, titled and dated en verso, 48 in. x 48 in., framed. [$8000/10000]

299. Hunt Slonem (American/Louisiana, b. 1951), "All Eyes", 2015, oil on panel, signed, titled and dated en verso, 21 3/8 in. x 17 1/2 in., framed. [$2000/3000]

300. David Harouni (Iranian/New Orleans, b. 1962), "Untitled (Face within a Face)", oil on gallery-wrapped canvas, signed lower left, 48 in. x 48 in., unframed. [$5000/8000]


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