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Information below is the lot/description information from our Fall Estates Auction, September 15 & 16, 2018. Descriptions listed below are NOT guaranteed accurate. Call 1-800-467-5329 for general information on Neal Auction Company. Follow the catalogue link to order our beautifully illustrated catalogue.

You are at > Lots 201-300

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201. Newcomb College Art Pottery High Glaze Vase, 1904, decorated by Ada Wilt Lonnegan with incised daffodils motif, blue, green and mustard yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. TT63, and "Q" for buff clay body, h. 8 3/4 in., dia. 3 7/8 in. Note: Restoration. $4000/6000
Ill.: Conradsen, David, et. al., The Arts & Crafts of Newcomb Pottery, New York: Skira Rizzoli Publications, Inc., 2013, p. 156.



202. Newcomb College Art Pottery High Glaze Mug, 1902, decorated by Harriet Coulter Joor with stylized thistle blossoms and leaves motif, green underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. Q96, and "Q" for buff clay body, h. 4 1/8 in., w. 4 3/4 in. $2500/3500

203. Newcomb College Pierced Brass Mailbox, c. 1920-1935, attr. to Alice Leigh Moise (1905-1997), typical tapered form, cut with moss laden live oak and scrolls, h. 11 1/2 in., w. 9 1/4 in., d. 2 1/8 in. $1500/2500
Provenance: New Orleans Auction Galleries, Dec. 3, 2007, lot 880.
Ill.: Conradsen, David, et. al., The Arts & Crafts of Newcomb Pottery, New York: Skira Rizzoli Publications, Inc., 2013, p. 265, pl. 180.
Exh.: "Women, Art and Social Change: The Newcomb Pottery Enterprise " Newcomb Art Gallery and Smithsonian Institution Traveling Exhibition Services, 2013-2016.



204. Newcomb College Art Pottery High Glaze Vase, 1902, decorated by Leona Fischer Nicholson with relief-carved tree trunk motif, blue and green underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. J100, "X" indicating reserved for decorator or college (piece not for sale) and "Q" for buff clay body, h. 11 1/2 in., dia. 7 in. Note: Condition. $2500/3500
Note: The decoration of this unusual vase was likely inspired by the linear, geometric landscape studies by artist Arthur Dow, a close friend and colleague of the Woodward brothers and mentor to many Newcomb College decorators.



205. Newcomb College Art Pottery High Glaze Chamberstick, 1909, decorated by May Louise Dunn, candle cup and base incised with bands of foliage, blue underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. DG72 and "Q" for buff clay body, h. 4 1/4 in., dia. 5 in. $2000/3000

206. Rare Newcomb College Art Pottery High Glaze Bottle Vase, 1905, decorated by Roberta Beverly Kennon with incised lines and foliage motif, copper-reduction high glaze with blue underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. AM4, and "W" for white clay body, h. 6 3/4 in. $7000/9000
Note: A number of red-glazed pieces were shown in Newcomb's display at the 1907 Jamestown Ter-Centennial Exposition held at Norfolk were they were singled out for praise.



207. Newcomb College Art Pottery Vase, 1919, decorated by Sadie Irvine in the "Moon and Moss" landscape design, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. KE26 and shape no. 49, h. 6 1/8 in., dia. 8 1/4 in. $7000/9000



208. Monumental Newcomb College Art Pottery Vase, 1912, decorated by Alma Florence Mason with relief-carved banana palm trees motif, semi-matte glaze with blue, green and white underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. FN30, and circled "B" for buff clay body, h. 15 1/2 in., dia. 7 1/4 in. $25000/35000

209. Newcomb College Art Pottery Vase, 1933, decorated by Sadie Irvine with relief-carved butterfly wings motif, matte glaze with blue, green and pink underglaze, base marked with Newcomb cipher, decorator's mark, Francis Ford's potter's mark, reg. no. UO10, retains original paper label, h. 3 1/4 in., dia. 5 in. $1200/1800

210. Newcomb College Art Pottery High Glaze Plate, c. 1897-99, decorated by Gertrude Roberts Smith with citrus and cypress trees and a stylized cloud motif, blue, green, brown and yellow underglaze, base marked with "NEWCOMB COLLEGE" cipher, decorator's mark and faint partial Joseph Meyer's potter's mark, dia. 8 1/2 in, foot ring drilled for hanging. $12000/18000
Note: Gertrude Smith was the first faculty member recruited for Newcomb's art program. She began in 1889 as Assistant Professor of Drawing and Painting and retired in 1934 as Professor of Watercolor Painting and Decoration of Textiles. With a long-time interest in needlework, she also became the faculty supervisor for Newcomb's textile and embroidery workers. As a result, she decorated very few examples of pottery.

211. George Ohr Art Pottery Footed Vase, c. 1898-1910, unglazed Mississippi red clay, twisted body with straight neck, signed "G.E. Ohr", h. 3 3/4 in., dia. 3 1/2 in. $2000/3000



212. Newcomb College Art Pottery Flared Rim Bowl, 1920, decorated by Henrietta Bailey with relief-carved jonquils motif, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator's mark, reg. no. LA92 and shape no. 263, h. 3 5/8 in., dia. 7 7/8 in. $2500/3500



213. Newcomb College Art Pottery Chocolate Cup and Saucer, 1911, decorated by Henrietta Bailey, cup with relief-carved band of Confederate jasmine around rim, saucer with incised bands, matte glaze with blue, green and yellow underglaze, both marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark and reg. no. EM21, saucer dia. 5 1/4 in., cup h. 3 1/8 in. Note: Condition. $1500/2500



214. Newcomb College Art Pottery Vase, 1931, decorated by Sadie Irvine with stylized Art Deco lotus leaves motif, semi-matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator's mark, Jonathan Hunt's potter's mark, reg. no. TD15 and shape no. 95, retains partial original paper label, h. 5 7/8 in. $3000/5000

215. Newcomb College Art Pottery High Glaze Vase, 1932, decorated by Aurelia Coralie Arbo with stylized elongated leaves, seafoam green underglaze, base marked with Newcomb cipher, decorator's mark, Jonathan Hunt's potter's mark, reg. no. TR80 and shape no. G9, h. 9 in., dia. 5 1/2 in. $2500/3500



216. Newcomb College Art Pottery Trivet, 1919, decorated by Henrietta Bailey with relief-carved wreath of oxalis foliage and blossoms, matte glaze with blue, green, pink and yellow underglaze, base marked with Newcomb cipher, decorator's mark, and reg. no. KP48, h. 1/2 in., dia. 5 3/4 in. $1200/1800



217. Newcomb College Art Pottery Pitcher, 1924, decorated by Anna Frances Simpson with relief-carved band of Cherokee roses, matte glaze with blue, green, pink and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. OD14, and shape no. 230, h. 8 in. $2500/3500

218. Newcomb College Art Pottery Low Vase, 1921, decorated by Corinne Marie Chalaron with stylized Art Deco floral motif, matte glaze with blue, green, white and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. LQ78 and shape no. 257, h. 4 1/2 in., dia. 6 3/4 in. $2500/3500



219. Newcomb College Art Pottery Pitcher, 1927, decorated by Sadie Irvine with relief-carved berry and leaf motif, matte glaze with blue, green and pink underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. QA34, and shape no. 230, h. 7 3/4 in. $2000/3000



220. Newcomb College Art Pottery Candlestick, 1917, decorated by Anna Frances Simpson with relief-carved linear abstract motif, matte glaze with pink, green and blue underglaze, base marked with Newcomb cipher, decorator's mark, reg. no. IQ41 and shape no. 282, h. 7 3/4 in., dia. 4 1/4 in. $1200/1800



221. Newcomb College Art Pottery Vase, 1928, decorated by Anna Frances Simpson in the "Moon and Moss" design, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. OZ60 and shape no. 319, h. 8 in., dia. 3 3/8 in. Note: Condition. $2500/3500

222. Newcomb College Pierced Brass Mailbox, c. 1920-1945, attr. to Juanita Mauras (1880-1952), typical tapered form, cut with long leaf pine tree at crest, h. 11 1/2 in., w. 8 1/2 in., d. 2 1/4 in. $1000/1500
Provenance: St. Charles Gallery, New Orleans, Feb. 17, 2008, lot 905.

223. Newcomb College Pierced Brass Doorbell, c. 1920-45, attr. to Juanita Mauras (1880-1952), shield shape, cut with long leaf pine tree, faint remnants of a name engraved across top, h. 4 3/4 in., w. 3 3/8 in., mounted on silk backing in contemporary frame, 8 3/4 x 7 1/4 in. $500/750
Provenance: St. Charles Gallery, New Orleans, Feb. 17, 2008, lot 905.

224. Newcomb College Pierced Brass Doorbell Plate, c. 1920-1935, attr. to Alice Leigh Moise (1905-1997), decorated with moss laden live oak and scrolls, h. 3 3/4 in., w. 2 3/4 in. $700/1000
Provenance: New Orleans Auction Galleries, Dec. 3, 2007, lot 880.
Ill.: Conradsen, David, et. al., The Arts & Crafts of Newcomb Pottery, New York: Skira Rizzoli Publications, Inc., 2013, p. 243, pl. 164.
Exh.: "Women, Art and Social Change: The Newcomb Pottery Enterprise " Newcomb Art Gallery and Smithsonian Institution Traveling Exhibition Services, 2013-2016.

225. Newcomb College Art Pottery Bowl, 1926, decorated by Anna Frances Simpson with relief-carved jonquils motif, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. PF41 and shape no. 55, h. 2 1/4 in., dia. 6 3/4 in. $1500/2500



226. Newcomb College Art Pottery Creamer, 1928, decorated by Anna Frances Simpson with relief-carved band of jonquils, matte glaze with blue, green, white and yellow underglaze, base marked with Newcomb cipher, decorator's monogram, reg. no. OX1 and shape no. 196, h. 4 1/4 in., d. 4 3/4 in. $1000/1500



227. Newcomb College Art Pottery Four Loop Handled Baluster Vase, 1905, thrown by Joseph Fortune Meyer, dark red clay with copper-reduction glaze, base marked with Newcomb cipher, Joseph Meyer's mark, reg. no. AP83 and "FR" for red clay body with red glaze, h. 6 3/8 in. Note: The red color was achieved by kiln reduction. $1500/2500

228. Newcomb College Art Pottery High Glaze Vase, 1905, decorated by Marie De Hoa LeBlanc with relief-carved band of sweet laurel blossoms, blue, green and white underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. AL79, and "Q" for buff clay body, h. 6 7/8 in. $1500/2500



229. Newcomb College Art Pottery High Glaze Tile, c. 1930, attributed to Leona Fischer Nicholson (1875-1966), decorated with incised shamrock motif, blue and white underglaze, base marked with Newcomb cipher, h. 3/4 in, w. 4 1/2 in., d. 4 5/8 in. $500/700



230. Newcomb College Art Pottery Low Vase, 1917, decorated by Sadie Irvine with relief-carved daisy blossoms, stems and leaves motif, semi-matte glaze with blue, green, pink and yellow underglaze, base marked with Newcomb cipher, Joseph Meyer's potter's mark, reg. no. IP97, and shape no. 37, h. 2 1/4 in., dia. 5 1/2 in. $1200/1800

231. Newcomb College Art Pottery Chamberstick, 1912, decorated by Alma Florence Mason, candle cup and base with relief-carved band of blueberries and foliage, semi-matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. FK62 and circled "B" for buff clay body and semi-matte glaze, h. 4 1/2 in., dia. 5 1/4 in. $800/1200



232. Newcomb College Art Pottery Vase, 1928, decorated by Anna Frances Simpson with relief-carved oak tree and moss at dawn motif, matte glaze with blue, green and pink underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. RB62 and shape no. 04, h. 5 1/2 in., dia. 3 in. $1000/1500

233. Rare Newcomb College Art Pottery High Glaze Pelican Matchholder with Striker, c. 1908-29, hand-built by Leona Nicholson, figural pelican with open mouth, multi-toned underglaze, base marked with Newcomb's "H B" hand-built cipher, decorator's mark and "M" indicating that a mold was later made from this piece, h. 6 1/4 in., dia. 4 in.; together with Newcomb-style high glaze smoking dish, identical figural pelican with gray-blue and yellow underglaze, incl. matchholder with striker and ashtray, unmarked, h. 6 1/2 in., w. 5 1/2 in. $700/1000

234. Newcomb College Art Pottery Vase, 1915, decorated by Alma Florence Mason with relief-carved narcissus motif, matte glaze with blue, green, white and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. HC93, and "C" for buff clay body, h. 4 5/8 in., dia. 5 1/2 in. $1500/2500



235. Newcomb College Art Pottery High Glaze Camellia Bowl, c. 1908-29, hand-built by Leona Fischer Nicholson, scalloped upturned rim, seafoam green underglaze, base marked with Newcomb cipher and decorator's mark, h. 1 1/2 in., dia. 8 1/2 in. $300/500

236. Newcomb College Art Pottery Vase, c. 1910-20, hand-built by Leona Fischer Nicholson, ribbed sides with striated black and blue glossy glaze, base marked with Newcomb's "H B" hand-built cipher and decorator's mark, h. 4 3/8 in., dia. 5 in. $400/600

237. Newcomb College China-Decorated Porcelain Plate, c.1914, decorated by Cora Holloway Duncan with band of lotus blossoms in green, yellow, white and black and a pale blue border, signed on base, dia. 7 7/8 in. $400/600
Ill.: Conradsen, David, et. al., The Arts & Crafts of Newcomb Pottery, New York: Skira Rizzoli Publications, Inc., 2013, p. 138, pl. 91.
Exh.: "Women, Art and Social Change: The Newcomb Pottery Enterprise", Newcomb Art and Smithsonian Institution Traveling Exhibition Services, 2013-2016.



238. American Pottery Figural "Mammy" Tobacco Jar, mid-19th c., possibly Cartlidge and Company, New York, in the shape of a standing figure wearing a shawl and holding a book, marked "CLT. & Co.", h. 8 in., dia. 5 1/2 in. $500/750

239. Newcomb College Art Pottery Vase, c. 1918-22, decorated by Elizabeth Madeleine Villere with relief-carved Cherokee rose motif, matte glaze with blue, green and yellow underglaze, base marked with decorator's mark and shape no. 3, h. 4 1/4 in., dia. 5 in. $800/1200



240. Newcomb College Art Pottery Forty Thieves "Ali Baba" Jar, c. 1920, glossy black glaze, base marked with Newcomb cipher, h. 3 1/8 in. $200/400

241. Newcomb College Art Pottery Forty Thieves "Ali Baba" Jar, c. 1920, glossy mustard yellow glaze, base marked with Newcomb cipher, h. 3 in. $150/250



242. George Ohr Art Pottery "Poop" and Tea Cup, c. 1897-1900, chamber pot formed cup, exterior glazed with dark cobalt blue, stamp marked "G.E. OHR/ Biloxi, Miss." on cup and feces, cup h. 2 3/8 in; together with contents to resemble feces and a tripartite stilt. (3 pcs.) $600/900



243. Connie Weiner Art Pottery Bowl, c. 1945, New Orleans, gunmetal glaze over a red clay body, signed and dated on the base, h. 1 7/8 in., dia. 4 3/8 in. $100/200
Provenance: Weiner Estate Auction, Hampshire House, Kenner, LA, June, 2001.

244. Newcomb College China-Decorated Limoges Porcelain Plate, c. 1905, decorated by Grace Blethen Dunn with rosebuds and panels in cobalt blue, signed on reverse, dia. 7 3/8 in. $300/500
Provenance: Jean Bragg Gallery, New Orleans, LA, June 23, 2012.
Ill.: Bragg, Jean and Dr. Susan Saward, The Newcomb Style, New Orleans: Jean Bragg Gallery, 2002, p. 67, no. 77.

245. Newcomb College China-Decorated Porcelain Sauce Pitcher, c. 1915, decorated by Ora Moss Reams with polychrome flowers, initialed "O.R.S." on base, h. 3 in., w. 5 1/2 in. $300/500
Provenance: Jean Bragg Gallery, New Orleans, LA, June 23, 2012.
Ill.: Bragg, Jean and Dr. Susan Saward, The Newcomb Style, New Orleans: Jean Bragg Gallery, 2002, p. 69, no. 79.



246. Newcomb College China-Decorated Limoges Porcelain Demitasse Cup and Saucer, c. 1910-20, decorated by Alma Florence Mason with polychrome buds and bands, both pieces marked with Newcomb cipher and decorator's mark, cup h. 2 3/8 in., saucer dia. 4 5/8 in. $200/400

247. George Rodrigue (American/Louisiana, 1944-2013), "In My Secret Garden", 1997-1998, acrylic on canvas, signed lower left, 24 in. x 30 in., framed. $30000/50000
Ill.: Rodrigue, George. Blue Dog Man. New York: Stewart, Tabori & Chang, 1999, pp. 106-107.
Note: The painting offered here is featured prominently in Blue Dog Man, a landmark book about George Rodrigue that sold more than 60,000 copies in its first two months. In the book, Rodrigue is quoted about this painting: “In My Secret Garden was inspired by my wife, who told me that she has a secret garden--- a private sanctuary all her own. As I peer over the wall into her world, I am touched to see that her favorite thing to do is to plant blue flowers for me.”
Ref.: Rodrigue, George. Blue Dog Man. New York: Stewart, Tabori & Chang, 1999, pp. 106-107.



248. George Rodrigue (American/Louisiana, 1944-2013), "Jolie Blonde Waiting", 1984, oil on canvas, signed lower right, signed and dated en verso, artist stamp, titled and inscribed on stretcher, 36 in. x 24 in., framed. $25000/35000
Note: According to local legend, in the 1920s a Cajun imprisoned in Port Arthur, Texas wrote a song based on the Cajun legend “Jolie Blonde.” The ballad tells the story of a pretty blonde woman who left her Cajun lover for someone else. Rodrigue painted Jolie Blonde, meaning “pretty blonde,” more than one hundred times, beginning in 1974 and continuing for the rest of his career. Over the years, he utilized numerous models, placing Jolie Blonde at first in bayou settings and later in more contemporary and even abstract environments.
In the work offered here, Rodrigue characteristically makes all elements in the painting hold equal importance, including the oak tree and the shape that its branches form with the sky, perfectly framing the beautiful young woman. While she is grounded by the bench, the figure is dressed entirely in white and glows against the dark Acadiana landscape. Unusually, Rodrigue chose to reveal Jolie Blonde’s foot, as opposed to covering the feet as typical of his Cajun figures. Interestingly, "Jolie Blonde Waiting" was created in 1984, the year Rodrigue also painted the first Blue Dog.
Neal Auction Company would like to thank Wendy Rodrigue for her assistance with this catalogue note.



249. Clementine Hunter (American/Louisiana, 1886-1988), "Miss Brown has Visitors", oil on paper, signed "Clemence" lower right, monogrammed mid-left, "Strathmore" watermark lower right, titled on remnant of backing paper, 11 1/2 in. x 14 1/2 in., framed. $3000/5000

250. William Aiken Walker (American/South Carolina, 1838-1921), "Young Boy", 1885, oil on board, signed and dated lower left, 12 1/4 in. x 6 1/4 in., framed. $10000/15000
Provenance: Rathborne Collection, New Orleans; Charleston Renaissance Gallery, Charleston, SC.
Note: To be included in John Fowler's forthcoming catalogue raisonné on William Aiken Walker.
Note: William Aiken Walker traveled throughout the South during his prolific career. Often referring to himself as "doctor" or "professor," Walker sought out intellectuals with refinement and good manners. A great fan of Charles Dickens, Walker imitated the lifestyles of the gentry in Dickens' novels and developed a fascination with the street urchins of London characterized in those books. Examples of "street urchins" in the southern United States and Cuba appear throughout Walker's career, including a small series of newsboys, children playing or fighting, and children working as street vendors. The scenes are often idealized, yet Walker pays great attention to realistic details such as the torn, ragged clothing and background scenery, as evident in the important and rare paintings of a young boy and young girl offered here.

251. William Aiken Walker (American/South Carolina, 1838-1921), "Young Girl", oil on board, signed lower left, 12 1/4 in. x 6 1/4 in., framed. $10000/15000
Provenance: Rathborne Collection, New Orleans; Charleston Renaissance Gallery, Charleston, SC.
Note: To be included in John Fowler's forthcoming catalogue raisonné on William Aiken Walker.



252. George Rodrigue (American/Louisiana, 1944-2013), "Louisiana Trail Bridge", 1971, oil on canvas, signed and dated lower left, signed, titled, dated and artist stamp on stretcher, 18 in. x 24 in., framed. $15000/25000
Note: From 1968 to 1971, George Rodrigue worked to refine his unique vision of Louisiana. The canvas from 1971 offered here is an important window into the development of the twenty-seven year old artist’s style. Saturated in rich colors, Rodrigue’s bayou is a carefully composed composition dominated by the silhouetted oak tree in the background and the diagonal dark river or coulee in the foreground. The wood trail bridge for which the painting is named melds into the landscape, much like the artist’s later Cajun figures.
By the early 1970s, Rodrigue had begun to receive critical acclaim for his work. The Louisiana State Art Commission sponsored a Rodrigue exhibition at the Louisiana State Museum in the Old State Capitol in Baton Rouge in 1970, featuring seventy oak tree paintings. He also was the subject of a one-man exhibition at the Beaumont Art Museum, now the Museum of Southeast Texas, which opened to glowing reviews in August of 1971.



253. 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. $2500/3500
Provenance: Purchased from the artist.



254. Knute Heldner (Swedish/New Orleans, 1877-1952), "Arrowhead Country", oil on canvas, signed lower left, titled on stretcher, 24 in. x 30 in., framed. $3000/5000



255. William Henry Buck (American/New Orleans, 1840-1888), "Louisiana Bayou Settlement", 1880, oil on canvas, signed and dated lower right, 9 1/4 in. x 12 3/4 in., period frame with artist plaque. $30000/50000
Provenance: Morris Newman; Jay P. Altmayer Collection, Mobile, AL, c. 1960; Christie's, New York, Jan. 19, 2017, lot 34.
Note: In 1880, William Henry Buck opened his own studio at 26 Carondelet Street in New Orleans, where he was instrumental in defining the easel-sized landscape market. Dating from the same year, the delightful canvas offered here depicts a picturesque settlement with house and pasture along a Louisiana bayou. The scene includes the artist's characteristic low horizon line, fluffy white clouds, oak trees and glistening water. The inclusion of the cows and chickens resting peacefully in the field is relatively rare within Buck's oeuvre, although he clearly shows skill in their depiction. Perhaps at his best when working in an intimate scale, Buck's brushwork is exceptionally well-rendered and captures the most minute details of the foliage, house and animals. Once included in the collection of the renowned Jay P. Altmayer at Palmetto Hall in Mobile, Alabama, this gem is among Buck's finest work.
Ref.: Wiesendanger, Martin and Margaret. 19th Century Louisiana Paintings from the Collection of W.E. Groves. Gretna, LA: Pelican Publishing Company, 1971.



256. Clementine Hunter (American/Louisiana, 1886-1987), "Boating Party", oil on board, unsigned, "Pennsylvania Academy of the Fine Arts" and "The Saturday Gallery" labels en verso, 14 1/2 in. x 21 in., framed. $6000/8000
Ill.: Shiver, Art and Tom Whitehead. Clementine Hunter: Her Life and Art. Baton Rouge: Louisiana State University Press, 2012, fig. 27, p. 102.
Exh.: "Saturday Gallery", St. Louis, MO, Nov. 17 - Dec. 22, 1952; "People's Art Center, St. Louis, MO, Jan. 12 - Jan. 31, 1953.
Note: “… [S]he paints entirely from within herself, from a deathless world where she has re-awakened the magic of the child’s vision. In this world, shapes of vivid color and entranced gayety or gravity have triumphed over the harsh realities of her life, while still partaking of some of their inner essence.” – Clarence John Laughlin
Photographer Clarence John Laughlin was quite taken by Clementine Hunter when he wrote the above memo after meeting the artist in 1952. His enthusiasm for her artwork drove him to reach out to gallery owner, Armand Winfield in Saint Louis, Missouri. Winfield agreed to exhibit twenty of Hunter’s best works in what would become her first major exhibition outside of Louisiana. From November 17 to December 22, 1952, her colorful paintings were shown at Winfield’s Saturday Gallery and would then be loaned to the People’s Art Center, the first integrated art gallery in Saint Louis, from January 12 through January 31, 1953.
The painting offered here, entitled “Boating Party,” was one of the group of paintings exhibited in both Saint Louis shows. Afterwards, it was sent to Philadelphia as an entry to the Pennsylvania Academy of Fine Art’s 148th Annual Exhibition of American Painting and Sculpture. Perhaps deterred by her lack of artistic pedigree, the work was then rejected by the committee, which certainly seems an oversight today, as Hunter would go on to be considered one of the premier American folk artists. This work remains an important moment in the retrospective of Hunter’s career and is an excellent example of her earliest painting, a rich composition that provides more detail and depth upon each viewing.
Ref.: Shiver, Art and Tom Whitehead.Clementine Hunter: Her Life and Art. Baton Rouge: Louisiana State University Press, 2011. pp. 99-102.

257. Alexander John Drysdale (American/New Orleans, 1870-1934), "Live Oak Along the Bayou", 1915, oil wash on board, signed and dated lower right, inscribed en verso, 18 1/2 in. x 24 1/2 in., framed. $3000/5000

258. Clementine Hunter (American/Louisiana, 1886-1988), "Wash Day", oil on canvas board, monogrammed lower right, titled and inscribed en verso, 16 in. x 20 in., framed. $3000/5000



259. William Aiken Walker (American/South Carolina, 1838-1921), "Female Cotton Picker", oil on board, signed lower left, "Sloan and Roman, Inc., 25 East 77th Street, New York, NY" label en verso of backing board, 12 1/4 in. x 6 1/4 in., framed. $6000/8000
Provenance: Bland Galleries, New York; Sloan and Roman, Inc., New York.
Note: To be included in John Fowler's forthcoming catalogue raisonné on William Aiken Walker.



260. William Aiken Walker (American/South Carolina, 1838-1921), "Male Cotton Picker", oil on board, signed lower left, "Sloan and Roman, Inc., 25 East 77th Street, New York, NY" label en verso of backing board, 12 1/4 in. x 6 1/4 in., framed. $6000/8000
Provenance: Bland Galleries, New York; Sloan and Roman, Inc., New York.
Note: To be included in John Fowler's catalogue raisonné on William Aiken Walker.



261. James Michalopoulos (American/New Orleans, b. 1951), "Follige [sic] Barrage", 1998, oil on canvas, signed lower left, signed and dated en verso, titled on stretcher, 40 in. x 30 in., framed. $5000/8000



262. Marion Souchon (American/Louisiana, 1870-1954), "Let There Be Light", oil on board, unsigned, inscribed "#463" and typed artist label with title and "#463" en verso, 22 in. x 28 in., framed. $3000/5000



263. Aaron Bohrod (American, 1907-1992), "After Church", 1939, oil on canvas, signed and dated lower center, "Covington Fine Arts Gallery" label en verso, 16 in. x 22 in., framed. $2500/3500
Note: While studying at the Art Students League in New York City from 1930 to 1932, Aaron Bohrod was taught by John Sloan, who is believed to be the biggest influence on his work. After his return to Chicago in 1932, Bohrod put Sloan’s teachings into practice by incorporating a wide range of urban subjects into his American Scene style paintings: “backyards and alleys and garage eaves and rooftops, and the parks, and the setting for the life of everyday people.” The artist’s professional achievements in the 1930s also included two consecutive Guggenheim Fellowships (1936–37 and 1937–38), which funded trips to the West, South and Northeast. One of these trips perhaps inspired the worked offered here from 1939. In 1943, Life magazine commissioned Bohrod to cover WWII as a correspondent and artist. After the war, he was hired as the Artist in Residence at the University of Wisconsin in Madison, where he worked until his retirement in 1973. Bohrod's style changed dramatically throughout his career from romantic realism to his later trompe l’oeil still-life paintings. Here, Bohrod depicts a rural scene of a small church as parishioners exit and speak with the minister, while a hunter with his hound passes in the distance.



264. William Dunlap (American/Mississippi, b. 1944), "Watershed Runoff", 1989, mixed media on paper, signed and dated lower right, titled lower left, 30 1/4 in. x 79 1/4 in., framed. $3000/5000
Note: The wide, horizontal format of this work by contemporary Mississippi artist, William Dunlap, is characteristic of his expansive, panoramic landscapes. The scenes are often not representational of any factual location, but rather a place conjured in the artist's mind. In "Watershed Runoff," the vanishing point of the horizon line is framed by sharp, gray rock formations and symmetrical tree lines. A body of water, reflecting the pink sky and void of figures or animals, underscores the sense of isolation that can come with being alone in nature, both compelling and deflecting the viewer.
Ref.: Dunlap, William, and J. Richard. Gruber.Dunlap. Jackson: U of Mississippi, 2006.



265. Adele Lemm (American/Tennessee, 1904-1977), "Shell and Rockweed", 1969, oil on linen, signed and dated lower right, signed, titled and "The Charleston Renaissance Gallery, Charleston, SC", "Robert M. Hicklin, Jr., Inc., Spartanburg, SC" and "Greenville County Museum of Art, SC" labels en verso, 24 1/4 in. x 30 1/8 in., framed. $3000/5000
Provenance: The Charleston Renaissance Gallery, Charleston, SC.
Note: Tennessee artist Adele Lemm spent much of her life in the South and New England, where she often summered at Martha's Vineyard. She studied at the Siena College in Memphis as well as the Memphis Academy of Arts. Lemm’s well-known work is defined by blocks of color in a soft palette with details omitted in favor of representation through broad brush strokes, perfectly exemplified in the painting offered here.
In addition to painting, Lemm taught for twenty-three years at the junior school of the Memphis Academy of Arts. In the 1950s and 1960s, Lemm exhibited at the National Academy of Women Artists’ Annual Exhibition, New Orleans Museum of Art, Pennsylvania Academy of Fine Arts, Brooks Museum of Art and Ward Eggleston Galleries in New York City. Her work is represented in the collection of the Brooklyn Museum of Art.
Ref.: Pennington, Estill Curtis, and James C. Kelly. The South on Paper: Line, Color and Light. Spartanburg: Robert M. Hicklin Jr., Inc., 1985, pp. 11 & 50.



266. Hunt Slonem (American/Louisiana, b. 1951), "Polyphemus", 2005, oil on board, signed, titled and dated en verso, 47 1/4 in. x 29 1/4 in., framed. $6000/8000



267. Hunt Slonem (American/Louisiana, b. 1951), "Veil", 2000, oil on canvas, signed, titled and dated en verso, 72 in. x 84 in., unframed. $6000/8000



268. Hunt Slonem (American/Louisiana, b. 1951), "Golden Rabbits", 2014, oil on board, signed, titled and dated en verso, 20 in. x 16 in., artist frame. $3000/5000



269. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), "Carousel", 1983, mixed media on canvas, signed and dated lower left, 30 1/4 in. x 36 in., framed. $10000/15000



270. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), "Mystic Series 7-B", 1984, mixed media on canvas, signed and dated lower left, 48 1/2 in. x 46 1/2 in., framed. $20000/30000

271. George Bauer Dunbar (American/Louisiana, b. 1927), "Bridge", gold leaf on red clay, signed lower right and left, inscribed lower right, 23 3/4 in. x 33 in., framed. $7000/10000

272. George Bauer Dunbar (American/Louisiana, b. 1927), "Heart", platinum leaf over black and gold clay, signed lower center, 20 in. x 16 in., framed. $3000/5000

273. Edward Lee Hendricks (American/Birmingham, b. 1952), "Abstract Form", stainless steel, paint and mixed media, unsigned, l. 59 in., mounted on board. $500/800

274. Lonnie Holley (American/Alabama, b. 1950), "God III", 1983, cast sand and polymer, initialed and dated on reverse, h. 18 in., w. 13 in., d. 6 in. $400/600

275. David Harouni (Iranian/New Orleans, b. 1962), "Untitled (Three Faces with Crown)", oil on gallery-wrapped canvas, signed lower right, 48 in. x 48 in., unframed. $4000/6000

276. James Michalopoulos (American/New Orleans, b. 1951), "Untitled (Pink House)", 2005, oil on canvas, signed lower left, signed, dated and "Michalopoulos" gallery label en verso, 22 in. x 28 in., framed. $4000/6000



277. James Michalopoulos (American/New Orleans, b. 1951), "Untitled (White House)", oil on canvas, signed lower left, "Michalopoulos" gallery label en verso, 28 in. x 22 in., framed. $4000/6000



278. Fritz Bultman (American/New Orleans, 1919-1985), "Prytania (Abstract Composition en verso)", 1957, double-sided oil on board, signed and titled on strainer bar (now removed and mounted within frame), artist, title and date on "McCormick Gallery, Chicago, IL" label on reverse of frame, 24 in. x 20 in., framed. $20000/30000
Provenance: Merce Cunningham and John Cage Collection; McCormick Gallery, Chicago, IL, 2010. Note: This exquisite painting by Fritz Bultman was in the esteemed collection of Merce Cunningham and John Cage. Cunningham is widely considered one of the most influential choreographers of all time, as well as being an accomplished dancer who founded the Merce Cunningham Dance Company at Black Mountain College. He worked frequently with his partner, John Cage, a world-renowned music theorist and one of the leading American composers of the twentieth century. Together, they amassed an impressive art collection including works by their contemporaries such as Jasper Johns, Robert Rauschenberg, Philip Guston, and Fritz Bultman.
The painting offered here is entitled “Prytania," and like many of Bultman's works, the canvas was inspired by his hometown of New Orleans. Layers of ochre pigment cover portions of the board, harmoniously co-mingling with bright colors such as coral, rose and rich green. The overall effect is that of a humid, spring day in New Orleans, perhaps on the very street for which the canvas is named.
Ref.: Vogal, Carol. “Art Among Friends Is Up For Sale.” The New York Times. Sept. 21, 2009. www.nytimes.com. Accessed Aug. 16, 2018



279. William Woodward (American/New Orleans, 1859-1939), "New Orleans Courtyard", oil on canvas, signed lower left, 20 in. x 16 in., framed. $6000/8000

280. Henrietta Bailey (American/Louisiana, 1874-1950), "Southern Landscape", pastel and graphite on board, signed lower right, 12 in. x 18 1/4 in., framed. $800/1200
Note: Henrietta Bailey was born in New Orleans in 1874 and began attending Newcomb College in 1901, receiving her diploma in 1903. She was active primarily as a pottery decorator from 1904 until her retirement in 1938. She also served as an instructor in the art department and was an exhibited artist working in a variety of media. The work offered in this lot is a rare landscape in pencil and pastel depicting a misty swamp scene dominated by cypress trees that clearly connects to Bailey's work on Newcomb pottery.

281. Morris Henry Hobbs (American/New Orleans, 1892-1967), "Gulf Coast Landscape", 1938, oil on board, signed and dated lower right, 12 in. x 9 in., framed. $1000/1500
Provenance: Descended in the family of the artist.

282. Charles T. Bowling (American/Texas, 1891-1985), "The Quiet Pond Spring", 1963, watercolor on paper, signed and dated lower right, titled and inscribed on backing board, 8 in. x 10 in., framed. $1800/2500
Note: Charles T. Bowling’s career in the fine arts started at the age of thirty-five, when he enrolled at the Dallas Art Institute and began winning awards and solo shows at area galleries. Bowling was closely associated with the "Dallas Nine," a group of (more than nine) painters, printmakers, and sculptors active in the 1930s and early 1940s who depicted the land and people of the Southwest. He worked full-time as a draftsman for the Texas Power and Light Company for forty-nine years, creating art and attending classes in his spare time. Bowling was drawn to rural landscapes as his primary subject matter, using a bright palette of ocher, rust and gray with contrasting areas of blue and green to capture the colors of Texas. “The Quiet Pond Spring” offered here is a beautiful example of Bowling's skill as a colorist in the later years of his career. The artist was sadly forced to abandon his craft in 1965 due to failing eyesight.
Ref.: Curlee, Kendall. “Bowling, Charles Taylor.” Texas State Historical Association. www.tshaoline.org. Accessed Aug. 13, 2018.

283. James Louis Steg (American/Louisiana, 1922-2001), "Masked Rex Riders", 1968, mixed media on shaped wood panel, signed and dated lower right, 44 1/4 in. x 33 1/2 in., unframed. $1500/2500
Note: Charles T. Bowling’s career in the fine arts started at the age of thirty-five, when he enrolled at the Dallas Art Institute and began winning awards and solo shows at area galleries. Bowling was closely associated with the "Dallas Nine," a group of (more than nine) painters, printmakers, and sculptors active in the 1930s and early 1940s who depicted the land and people of the Southwest. He worked full-time as a draftsman for the Texas Power and Light Company for forty-nine years, creating art and attending classes in his spare time. Bowling was drawn to rural landscapes as his primary subject matter, using a bright palette of ocher, rust and gray with contrasting areas of blue and green to capture the colors of Texas. “The Quiet Pond Spring” offered here is a beautiful example of Bowling's skill as a colorist in the later years of his career. The artist was sadly forced to abandon his craft in 1965 due to failing eyesight.
Ref.: Curlee, Kendall. “Bowling, Charles Taylor.” Texas State Historical Association. www.tshaoline.org. Accessed Aug. 13, 2018.

284. Angela Gregory (American/New Orleans, 1903-1990), "Study of Art Pottery Vases', oil on board, initialed lower left, partial painting and inscription en verso, 16 in. x 17 in., framed. $700/900

285. American Handwrought Sterling Silver Water Pitcher, Stone Associates, Gardner MA, probably Edward Caron, act. 1924-1937, baluster form with molded lip and stepped foot, h. 9 1/2 in., wt. 31.85 troy ozs. $600/800

286. American Sterling Silver Flask, Clarence Vanderbilt, New York, wc. 1891-1935, l. 9 in., w. 4 1/2 in., wt. 10.75 troy ozs. $200/300

287. American Coin Silver Repoussé Goblet, mid-19th c., unmarked, baluster form with floral scroll repoussé, vacant reserve, stepped molded foot, seamed construction, h. 5 in., wt. 3.75 troy ozs. $300/500

288. Gorham Sterling Silver Coffee and Tea Service, pattern 3180, date marks for 1896 and 1897, incl. coffee pot (h. 8 3/8 in.), teapot, covered sugar, creamer and waste; together with a near matching open sugar, William Hutton & Sons, Ltd., London, 1895, total wt. 53.90 troy ozs. (6 pcs.) $1000/1500

289. American Sterling Silver Bowl, 20th c., molded shell and scroll border, lobed well, dia. 13 1/2 in., wt. 23.50 troy ozs. $500/700

290. French First Standard Silver Julep Cup, maker HMB untraced, molded rim, h. 3 7/8 in., wt. 3.10 troy ozs. $150/250

291. Two George III Sterling Silver Two Handled Cups, both London, 1764, one maker SC untraced, baluster form, molded rim and flared foot, scroll handles, h. 5 5/8 in., the other maker WC untraced, with gadrooned lower body, floral chasing and molded scroll handles, h. 4 3/4 in., combined wt. 21.05 troy ozs. $600/800

292. Group of Georgian Sterling Silver Flatware, various London makers, incl. a marrow scoop, James Wilks, 1744 (l. 9 in.), stuffing spoon, Sarah & John William Blake, 1818 (l. 11 5/8 in.), 5 tablespoons, William Sumner I, 1804, tablespoon, Richard Crossley, 1782, 2 tablespoons, 1775 and 1806, makers marks rubbed, and sauce ladle, George Smith (IV), 1798; total wt. 24.25 troy ozs. (11 pcs.) $500/700

293. George III-Style Silverplate Epergne, I. Freeman & Son, London, with Anglo-Irish style diamond point cut glass bowls, h. 13 1/4 in., w. 21 7/8 in., on an associated silverplate mirrored plateau, 16 in. x 11 3/4 in. $500/750

294. Pair of George V Sterling Silver Gilt and Tortoiseshell-Mounted Cut Glass Scent Bottles, London, 1923, maker's mark rubbed, h. 6 in. $400/600

295. Antique English Sterling Silver Fiddle Thread Flatware Service, associated, primarily Mary Chawner and Chawner & Co. (George William Adams), London, 19th c., incl. 12 each: table forks (l. 8 1/4 in.), tablespoons (l. 8 7/8 in.), knives (l. 9 3/4 in.), dessert forks (l. 6 7/8 in.), dessert spoons (l. 7 1/4 in.), knives (l. 8 3/4 in.), and teaspoons; stuffing spoon, soup ladle and 2 gravy ladles, total wt. (weighable) 144.90 troy ozs. (88 pcs.) $5000/7000
Note: The Chawner family firm was a premier maker of silver flatware in London, beginning with William Chawner II in 1815. After his death in 1834 the business was run by his widow Mary, who in 1840 took into partnership her son-in-law George William Adams, who managed the business until 1883.

296. Pair of George III Sterling Silver Candlesticks in the Rococo Taste, William Grundy, London, 1759, mark reg. 1754, removable bobêches, shell and scroll decoration, h. 10 in., combined wt. 48.40 troy ozs. $1500/2500



297. Easterling "Southern Grandeur" Pattern Sterling Silver Flatware Service, pat. 1944, incl. 12 forks (l. 7 1/4 in.), 16 knives (l. 8 3/4 in.), 12 soup spoons, 12 salad forks, 12 butter knives (hh), 20 teaspoons, 1 carving knife, 1 cake comb, 2 cake/pie knives, 1 ladle, 3 sugar spoons, 2 master butter knives, 1 cocktail fork, 6 ice tea spoons, 6 tablespoons and 2 dessert spoons, in fitted storage case, total wt. 93.75 troy ozs. (108 pcs.) $1000/1500

298. American Gothic Carved Rosewood Four-Panel Screen, mid-19th c. and later, each panel with a pierced arch, h. 67 1/2 in., each panel w. 26 in., overall w. 104 in. $300/500
Provenance: Lee B. Anderson Collection.



299. American Classical Inlaid Mahogany and Rosewood Banded Games Table, 19th c., foldover swivel top, ring-turned columnar supports, shaped plinth, saber legs, brass cuffs, casters, h. 28 1/2 in., w. 35 1/2 in., d. (closed) 17 1/2 in., d. (open) 36 in. $1000/1500

300. American House of Representatives Carved Oak Armchair, c. 1857, attr. to Bembe and Kimbel, New York, after a design by Thomas Ustick Walter, federal shield crest, bellflower carving, beaded seat rail, faceted legs, cuff casters, h. 42 1/2 in., w. 24 1/2 in., d. 22 1/2 in.; accompanied by a copy of the 1952 Sloan catalogue cover and entry. $10000/15000

Provenance: Estate of Frank C. Littleton, Oak Hill (James Monroe House), Loudon, VA; C.G. Sloan & Co. Auctioneers, Dec. 9-13, 1952, lot 188; private collection.
Note: The designer of this chair, Thomas Ustick Walter (1804-1887), architect of the U.S. Capitol, was responsible for the interiors of the House of Representative wing. The chairs were in use from 1857 to 1873, when remodeling resulted in the sale of Walter's furnishings.
Ref.: Office of the Clerk, U.S. House of Representatives,"Art, Artifacts, and Architecture." http://artandhistory.house.gov/art_artifacts/capitol-furniture/walter-furniture.aspx;
“A Real Rare Victorian Mystery,”
http://rarevictorian.com/2008/06/a-real-rare-victorian-mystery-part-iii.html.


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