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Information below is the lot/description information from our Spring Estates Auction. April 13 & 14, 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. Arthur Silverman (American/New Orleans, 1923-2018), "What If #7 / #217", 1992, metal and mixed media, signed, titled and dated on underside, h. 10 1/2 in., w. 4 3/4 in., d. 3 3/4 in. $800/1200
Provenance: Estate of Eve Godchaux Hirsch, New Orleans.
Note: Born in New York in 1923, Arthur Silverman moved to New Orleans in 1940 to attend medical school at Tulane University. He spent over thirty years as a respected physician before deciding to change course and pursue sculpture upon the advice of an ailing friend who said: "Art, if there is anything you want to do in this world, do it now. " These words would prove to be the catalyst for his late-in-life shift in career. Silverman started by first carving wood, then he taught himself how to weld and thus transitioned to the metal sculptures most associated with his oeuvre. While his monumental works can be found dotting the cityscape of New Orleans, Silverman also worked on a much smaller scale as is presented in the works offered here.
Ref.: Hasselle, Della. "Renowned Physician-Turned-Sculptor Arthur Silverman Dies at 95."The Advocate. Sept. 26, 2018. www.theadvocate.com. Accessed Mar. 20, 2019.

202. Arthur Silverman (American/New Orleans, 1923-2018), "Untitled", 1996, 2 aluminum and mixed media sculptures, both signed and dated on underside, each h. 2 in., w. 4 1/4 in., d. 3 1/4 in. (2 pcs.) $400/600
Provenance: Estate of Eve Godchaux Hirsch, New Orleans.

203. Arthur Silverman (American/New Orleans, 1923-2018), "Occasional Table", welded and patinated CorTen steel, signed on top surface, hexagonal form, h. 19 1/2 in., w. 28 in., d. 28 in. $500/700



204. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), "Striae", 1967, mixed media on canvas, signed lower left, "Arthur Roger Gallery" label, "Marion Koogler McNay Art Museum, San Antonio, TX" exhibition label and additional handwritten label with artist, title and date on stretcher, 72 in. x 71 3/4 in., framed. $30000/50000
Provenance: Arthur Roger Gallery, "Ida Kohlmeyer, Works from the Estate: 1957-1996", New Orleans, LA, Feb. 5 - Feb. 26, 2011.
Exh.: Marion Koogler McNay Art Museum, "Paintings by Ida Kohlmeyer", San Antonio, TX, Aug. 11-Sept. 8, 1968; Fort Wayne Museum of Art, "Paintings by Ida Kohlmeyer", Fort Wayne, IN, Oct. 26-Nov. 24, 1968, No. 15.
Note: In 1968, the Marion Koogler McNay Art Museum in San Antonio held a solo exhibition of Ida Kohlmeyer’s works. The McNay boasts an impressive permanent collection featuring works by the likes of Pablo Picasso, Henri Matisse, Georgia O’Keeffe and Edward Hopper. Being highlighted in such a prestigious institution is a significant achievement for any artist, even more so for a Southern female artist in the late 1960s.The painting offered here, one of the very few examples from Kohlmeyer's rare Striae series, was included in that 1968 exhibition. Narrow stripes of cornflower blue, magenta, burnt orange and greens punctuate the work and challenge the surrounding hues resulting in a painting vibrating with vitality. As Whitney Engeran writes, "There is a fresh, seductive color-hook in these Straie, but once the viewer bathes in these colors, the tension begins to generate an aesthetic excitement that only increases with further involvement." This important painting is a harmonious equilibrium of color and shape which foreshadows the future Clusters series.
Ref.: Ida Kohlmeyer: Thirty Years. Charlotte, NC: Mint Museum, 1983, p. 38.



205. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), "Circus Series 3D #4", 1989, painted aluminum, signed and dated on self-base, h. 72 in., w. 40 1/2 in., d. 17 in. $12000/18000
Provenance: Arthur Roger Gallery, "Ida Kohlmeyer", New Orleans, LA, Jan. 6 - Feb. 24, 2007

206. Leonard Brooks (Canadian/Mexican, 1911-2011), "Carnival", 1960, oil on canvas, signed lower right, signed, titled and dated en verso, 29 5/8 in. x 23 11/16 in., framed. $800/1200
Note: Leonard Brooks was born in England but moved to Canada at a young age. Although he was primarily self-taught, he studied at the Ontario College of Art, and at the onset of World War II, Brooks worked as a war artist in England. After the war, Brooks and his wife, Reva, moved to Mexico and began an art colony, working with several other American art instructors. Selling his works in the United States and Canada, Brooks became well-known throughout America, although less so in his home country, a fact that bothered him greatly. Brooks stayed in San Miguel de Allende throughout his life, continuing to paint, write, and teach, and died at the age of 100 in 2011.
A prolific artist, he worked in a multitude of media and painting styles, creating charming realistic scenes of landscapes and cityscapes, as well as fascinating abstract paintings and collages. In the painting offered here, vibrant shades of orange and teal are used to complete the composition and convey the frenetic energy of a carnival scene.

207. Leonard Brooks (Canadian/Mexican, 1911-2011), "Red Circle", 1961, gouache on paper, signed and dated lower right, inscribed and artist studio label with title and date en verso, 7 in. x 10 in., framed. $300/500



208. Henry Gasser (American, 1909-1981), "Drydock", "Drydock Repairs" and "Harbourview", 2 watercolor and mixed medias and one double-sided watercolor on paper, all signed, one pencil-signed and titled on backing board, 9 in. x 12 in. to 16 3/4 in. x 24 in., framed. $800/1200
Provenance: William H. Trayes, Jr. Collection, Rockport & Gloucester, MA; Kaminski, Oct. 27, 2018, lots 153, 152, 108.

209. Fletcher Benton (American/Ohio, b. 1931), "Abstract Composition #30", 1988, graphite on paper, signed and dated lower right, sheet 10 in. x 11 1/2 in., framed. $800/1200
Provenance: Estate of Eve Godchaux Hirsch, New Orleans.

210. Mary Cassatt (American, 1844-1926), "Denise Holding Her Child", c. 1905, drypoint etching on paper, unsigned, information label with artist, title and date on backing, sheet 11 1/8 in. x 7 1/8 in., framed. $700/1000

211. Mary Cassatt (American, 1844-1926), "The Manicure", c. 1908, drypoint etching on paper, unsigned, information label with artist, title and date on backing, 11 1/4 in. x 7 5/8 in., framed. $700/1000

212. Mary Cassatt (American, 1844-1926), "Looking in the Hand Mirror (No. 2)", c. 1905, drypoint etching on paper, unsigned, information label with artist, title and date on backing, sheet 11 3/4 in. x 8 3/4 in., framed. $700/1000



213. Rare and Large Shearwater Art Pottery Jardinière, c. 1930, jiggered by Peter Anderson, decorated by Walter Inglis Anderson, impressed mark, slip and scraffito design of a continuous frieze of figures and a mule, h. 7 1/2 in., dia. 14 1/4 in. $8000/12000
Note: Following a period of intense study, artistic training and international travel, Walter Inglis Anderson returned home in 1929 to Ocean Springs, Mississippi, where his older brother, Peter, had begun a small art pottery. Anderson, a consummate student of the arts, applied his knowledge and observations to the various media in which he worked. "Always a passionate student of art history he considered it his legacy to absorb and assimilate, to make the foundation upon which he would build his own work."
The writings of Jay Hambridge and Adolpho Best-Maugard had a significant impact on Anderson’s artistic world view and philosophy. Best-Maugard’s notion that art consists of seven basic motifs (spiral, circle, half-circle, s-curve, wavy line, zigzag, and straight line) had a particular influence on Anderson, which is evident in the rare jardinière offered here.
His appreciation for the stylistics of Classical Greek ceramics would have certainly informed the panoramic design of this pot. Reminiscent of his "Harvesting the Sea" bowl from the D’Iberville series, this vessel boasts a similar shape and was also jiggered by Peter. Like "Harvesting the Sea," this work serves as a beautiful example of the early collaboration between Peter and Walter, and showcase Walter’s immense and burgeoning talent.
Ref.: Pickard, Mary Anderson and Patrcia Pinson, eds.Form and Fantasy: the Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2008, p. 3; Stewart, Dod. Shearwater Pottery. Slidell: Bristol Publishing, 2005.



214. Newcomb College Art Pottery Vase, 1931, decorated by Sadie Irvine with relief-carved landscape in the "Moon and Tall Pines" design, semi-matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Jonathan Hunt's decorator's mark, reg. no. SX44, and shape no. 330, h. 9 1/8 in. $6000/9000



215. Newcomb College Art Pottery Vase, 1919, decorated by Sadie Irvine with relief-carved landscape in the Moon and Washingtonia Palm tree design, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator's mark, reg. no. KJ70 and shape no. 268, h. 10 1/2 in. Note: base is drilled for use as lamp. $8000/12000
Ill.: Bragg, Jean and Dr. Susan Saward, The Newcomb Style, New Orleans: Jean Bragg Gallery, 2002, p. 104, no. 155.

216. Newcomb College Art Pottery High Glaze Plate, 1907, decorated by Maria de Hoa LeBlanc with incised band of roosters and grapevines on rim, blue, green and mustard yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. RX89, and "Q" for buff clay body, dia. 8 7/8 in. $3000/5000



217. Newcomb College Art Pottery Vase, 1932, decorated by Sadie Irvine with relief-carved Moon and Moss design, matte glaze with blue and green underglaze, base marked the Newcomb cipher, decorator's mark, Kenneth Smith's potter's mark, and reg. no. UA44, h. 4 1/4 in. $2500/3500



218. Newcomb College Art Pottery Vase, 1912, decorated by Sadie Irvine with relief-carved jonquils motif, semi-matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. FJ50, and "B" for buff clay body, h. 8 in. $3000/5000



219. Newcomb College Art Pottery Lidded Jar, 1919, decorated by Anna Frances Simpson with relief-carved Cherokee roses motif, matte glaze with blue, green, pink and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, and shape no. 100, both lid and base marked with reg. no. KL73, h. 6 7/8 in. $8000/12000



220. Newcomb College Art Pottery Vase, 1927, decorated by Sadie Irvine in the "Moon and Moss" landscape design, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. QP84 and shape no. 236, h. 6 1/2 in., dia. 4 1/4 in. $1000/1500

221. George Rodrigue (American/Louisiana, 1944-2013), "Going Home Again", 2002, acrylic on linen, signed lower left, artist label with title on stretcher, 20 in. x 24 in., framed. $30000/50000



222. George Rodrigue (American/Louisiana, 1944-2013), "Gold Dog", 2006, oil on canvas, signed lower right, signed and dated en verso, 28 in. x 22 in., framed. $30000/50000



223. Bror Anders Wikstrom (Swedish/Louisiana, 1854-1909), "Lighthouse, Biloxi, MS", oil on canvas, signed lower right, 22 in. x 33 in., framed. $5000/8000



224. Knute Heldner (Swedish/Louisiana, 1877-1952), "Fog in the Swamp", 1948, oil on canvas, signed lower right, dated on stretcher, 24 in. x 20 in., framed with artist and title plaque. $3000/5000
Provenance: Neal Auction Company, Mar. 4, 2006, lot 392.

225. Wilson Henry Irvine (American, 1869-1936), "New Orleans Courtyard", oil on canvas, signed lower right, "Campanile Galleries Inc., Chicago, IL" label en verso, 25 in. x 30 in., framed with artist and title plaque. $7000/9000
Note: Following the founding of the Southern Art Union in 1880, the artistic community of New Orleans flourished. With the arrival of William and Ellsworth Woodward and establishment of a historic art program at Tulane University, the New Orleans art scene continued to blossom into the early part of the twentieth-century. In the years following World War I, New Orleans attracted an eclectic and important assemblage of artists, writers and intellectuals who, in the 1920s, transformed the French Quarter into a vibrant bohemia. The group included William Faulkner, William Spratling, Oliver La Farge, Sherwood Anderson and many regional and visiting artists and writers.
Wilson Henry Irvine wintered in New Orleans in 1927-28, where he was noted for his praise of "the old grey places where the walls were decaying." A key figure in twentieth-century American Impressionism, Irvine arrived at the height of the French Quarter Renaissance. Historic preservation and commercial revitalization had just begun to transform the neighborhood, and Irvine sought out historic courtyards, such as the colorful "antique scene" depicted on the canvas offered here. Laundry, children and moss-covered stones reveal the intimate side of the French Quarter, capturing the quotidian life of its residents.
Ref.: Reed, John Shelton. Dixie Bohemia. Baton Rouge: Louisiana State University Press, 2012.

226. Sydney Dale Shaw (American/New York, 1879-1946), "The Pink Roof - France", oil on canvas, signed and dated lower left, artist estate stamp en verso, inscribed with artist and title on stretcher, 16 in. x 20 in., framed. $1000/1500
Provenance: Natchez Art Association.

227. Morris Henry Hobbs (American/New Orleans, 1892-1967), "Chartres Street from Madison, Old New Orleans / Old Madison Street", 1939, etching, pencil-signed, titled and "Ed./300" lower margin, inscribed "Old New Orleans" and dated in plate, sheet 12 1/4 in. x 9 1/4 in., matted. $600/800
Ill.: Isbell, Reed W. Morris Henry Hobbs: A Catalogue Raisonné of Etchings, Engravings & Lithographs. McLean, VA: Coffee Street Publishing, 2017, p. 139.

228. Mildred Nungester Wolfe (American/Mississippi, 1912-2009), "Sweet Gum in Fall", linocut on paper, pencil-signed and titled lower margin, sheet 15 in. x 14 1/2 in.; and "Pigeons", woodcut on paper, pencil-signed and titled lower margin, sheet 22 1/2 in. x 18 1/4 in., framed. (2 pcs.) $300/500
Provenance: Natchez Art Association.

229. Morris Henry Hobbs (American/New Orleans, 1892-1967), "St. Ann Street from Royal, Old New Orleans", 1943, etching, pencil-signed, titled and inscribed "ed. 300" lower margin, titled and dated in plate, sheet 9 in. x 8 1/8 in.; and "Royal from St. Peter Street, Old New Orleans", etching, pencil-signed, titled and inscribed "ed./300" lower margin, sheet 8 11/16 in. x 7 3/4 in., framed alike. (2 pcs.) $700/1000
Ill.: Isbell, Reed W. Morris Henry Hobbs - A Catalogue Raisonné of Etchings, Engravings & Lithographs. Mclean, VA: Coffee Street Publishing, 2017, pp. 119, 132.



230. Debbie Fleming Caffery (American/Louisiana, b. 1948), "Lamentations for a Prince", 1989, ed. 10/15; "Polly Snapping Her Fingers", 1985, ed. 18/25; "Newspapers", 1985, ed. 1/25; "Polly (Lace Dress #2), 1985, ed. 1/25, 4 silver gelatin photographs, each pencil-signed, dated, titled and edition number en verso, from the series and book Polly, Twin Palms Publishers, Santa Fe, sheets 24 in. x 20 in., unframed. (4 pcs.) $1000/1500
Note: Debbie Fleming Caffery met Polly Joseph in 1984, inspiring a unique photographic portrait series that lasted over a decade. Driving around Franklin, Louisiana, Caffery first saw Polly sitting on her porch and decided to introduce herself. She found a woman in her seventies, living alone in an abandoned house with no electricity or gas. Caffery’s dramatic and haunting photographic style was perfectly suited to the natural light and dust that pervaded Polly’s home. As the years past and their almost daily visits began to build into a strong friendship, a special trust developed that imbued Caffery’s photographs with an intimacy and closeness only a true friend could capture. In 2004, Caffery released a "Collective Portrait" of their time together in a book called Polly, that is as much about friendship as it is portraiture. When speaking of that time Caffery remarks: "I went there so often, and I thought about her so much - I would dream about her. Going to Polly's was like being vacuumed into a feeling of security and warmth. I would rather have gone to her house than any place during those years."



231. Debbie Fleming Caffery (American/Louisiana, b. 1948), "Gena", 2005, ed. 2/10, "L", 1999, ed. 12/25 and "Waiting", 2005, 3 silver Gelatin photographs, one pencil-signed, dated, titled and edition en verso, one pencil-signed, dated and edition en verso, one unsigned, from The Spirit & The Flesh, Radius Books, Santa Fe, sheets 24 in. x 20 in. to 20 in. x 24 in., unframed. (3 pcs.) $600/800



232. Debbie Fleming Caffery (American/Louisiana, b. 1948), "Backyard, Franklin, Louisiana", 1990, ed. 1/25, "Smokey Sky in Patoutville", 1999, ed. 2/25 and "Smokey Swamp, Patoutville, Louisiana", 2000, ed. 1/25, 3 silver gelatin photographs, each pencil-signed, titled, dated and edition en verso, sheets 24 in. x 20 in. to 20 in. x 24 in., unframed. (3 pcs.) $800/1200

233. Jay Dearborn Edwards (American/New Hampshire, 1831-1900, act. New Orleans, 1857-1862), "American Hook and Ladder Company No. 2, Girod St., between St. Charles and Carondelet Street", c. 1858, salted paper photo mounted on heavy paper, small paper label lower left on mount reads "VIEWS OF NEW ORLEANS No. 137, J.D. Edwards Gallery of Photographic Art, New Orleans, LA", small paper label on reverse promoting Edwards' business, image 5 3/4 in. x 8 in., mount 9 7/8 in. x 12 in. $2000/3000

234. Newcomb College Art Pottery Vase, 1919, decorator unknown, trumpet form modeled with relief-carved narcissus motif, matte glaze with blue, green, white and yellow underglaze, base marked with Newcomb cipher, Joseph Meyer's potter's mark, reg. no. KP69 and shape no. 170, h. 7 5/8 in., dia. 3 3/8 in. $1200/1800
Provenance: Craftsman Auction, Lambertville, NJ, Mar. 11, 2006, lot 534.

234A. Newcomb College Hand-Wrought Sterling Silver Matchbox Holder, c. 1920-30, artist unknown, rectangular with a molded border and decorated with a cypress tree, h. 2 1/2 in., w. 1 3/4 in., d. 1/2 in. $700/1000
Provenance: Jean Bragg Gallery, New Orleans, LA, Jan. 2012; Collection of Walter Bob.
Ill.: Bragg, Jean and Dr. Susan Saward, The Newcomb Style, New Orleans: Jean Bragg Gallery, 2002, p. 163, no. 247; Conradsen, David, et. al., The Arts & Crafts of Newcomb Pottery, New York: Skira Rizzoli Publications, Inc., 2013, p. 252, p. 252, pl. 173; Poesch, Jessie and Sally Main. Newcomb Pottery: An Educational Enterprise for Women 1895-1940, Atglen, PA: Schiffer Pub. Ltd., 2003, p. 233, fig. 5-88.
Exh.: "Women, Art and Social Change: The Newcomb Pottery Enterprise " Newcomb Art Gallery and Smithsonian Institution Traveling Exhibition Services, 2013-2016.



235. Newcomb College Art Pottery Vase, 1922, decorated by Sadie Irvine with low relief-carved Cherokee roses 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. MW64 and shape no. 182, h. 5 3/4 in. $1500/2500

235A. Newcomb College Riveted Copper Mail Box/Pocket, c. 1920-45, by Juanita Mauras (1880-1952), scalloped top, tapered sides, central panel with pierced design of moss-laden oak tree flanked by scrolls, h. 11 5/8 in., w. 9 1/8 in., d. 2 in. $1000/1500
Provenance: Jean Bragg Gallery, New Orleans, LA, Sept. 15, 2012.
Ill.: Bragg, Jean and Dr. Susan Saward, The Newcomb Style, New Orleans: Jean Bragg Gallery, 2002, p. 149, no. 220.

236. Newcomb College Riveted Brass Mail Box/Pocket, early 20th c., scalloped top, tapered sides, central panel with pierced design featuring circled "R" monogram flanked by scrolls, unmarked, h. 11 5/8 in., w. 9 1/8 in., d. 2 in. $600/900

237. Newcomb College Calendar 1902-1903, designed by Mary Frances Baker (active 1897-1906), published by The Art Department, color woodcuts, signed in block, with 11 plates (including cover) showing activities around the school, 11 in. x 8 in. $1000/1500

238. Newcomb College 1909 Louisiana Calendar, designed by Rosalie Urquhart (active 1897-1917), with French Quarter scenes and Louisiana landscapes, interspersed with poetry and prose, 8 pgs. incl. cover, bound on top edge with cord, 12 1/2 in. x 9 in. $600/900

239. Knute Heldner (Swedish/Louisiana, 1877-1952), "Hazy Day in the Louisiana Bayou", oil on canvas, signed lower left, 25 in. x 30 in., framed. $3000/5000



240. Colette Pope Heldner (American/New Orleans, 1902-1990), "Can-Can", oil on canvas, signed lower left, signed, titled and inscribed "Paris 1929-1938" en verso, 34 1/4 in. x 40 in., framed. $4000/6000



241. Gideon Townsend Stanton (American/Louisiana, 1885-1964), "Rainy Night on Canal Street", oil on canvas, signed lower right, 25 in. x 30 in., framed. $4000/6000
Note: Gideon Stanton was born in Morris, Minnesota in 1885. Originally a stockbroker, he moved to New Orleans to work at his father's brokerage until the mid-1940s, when he left to pursue a full-time career as an artist. As a result of his friendship with Ellsworth Woodward, Stanton was hired in administrative positions for the Louisiana Works Progress Administration and the Delgado Museum of Art Project. Both jobs involved Stanton choosing artists for collections and large scale murals assignments. His time at these institutions was often viewed as contentious, as he was staunchly against abstract art which he referred to as "those modern forms." In his own work, such as "Rainy Night on Canal Street" offered here, Stanton utilized a representational and impressionist style with a restrained use of color to evoke the romantic feeling of a rainy night in New Orleans.
Ref.: Megraw, Richard. Confronting Modernity: Art and Society in Louisiana. Jackson: University of Mississippi Press, 2008, pp. 115-133.



242. George Rodrigue (American/Louisiana, 1944-2013), "Headquarters on the Teche (Headwaters of the Teche)", 1991, oil on linen, signed lower left, signed twice, titled, dated and original sketch with oak tree and Tiffany en verso, 20 in. x 16 in., framed. $18000/25000
Provenance: Galerie Blue Dog, Carmel, CA, 1991.
Note: George Rodrigue established his unique style of landscape painting in the late 1960s, rejecting the European tradition for an approach rooted in his studies in academic art, graphic illustration and a childhood spent in the bayous of Acadiana. The now widely-recognized "Rodrigue Oak" was consistently pushed to the forefront of the composition and cropped at the top with a hard edge. This lifetime subject for the artist usually followed the same pattern no matter the year, and Rodrigue continued to paint the oak even during the height of his Blue Dog series.
This later landscape from 1991, brighter in palette than its earlier predecessors, retains the classic Rodrigue hallmarks while also displaying the artist’s experimentation with his format. The oak is not cropped at the top, but rather dominates against the bright blue sky. A cabin in the background and pirogue in the foreground anchor a composition that clearly displays Rodrigue’s painterly style. The year of 1991 is also significant when considering the charming sketch on the back of the canvas, which includes another oak tree and a small representation of Tiffany – who had only recently transformed into the Blue Dog in Rodrigue's work.
Ref.: Rodrigue, Wendy. "Early Oak Trees and a Regrettable Self-Portrait." Musings of an Artist’s Wife. Oct. 14, 2009. www.wendyrodrigue.com. Accessed Mar. 11, 2019.



243. George Rodrigue (American/Louisiana, 1944-2013), "With a Rose", 1979, oil on canvas, signed lower left and en verso, titled, inscribed "7919" and artist stamps on stretcher, 24 in. x 18 in., framed. $15000/25000



244. James Michalopoulos (American/New Orleans, b. 1951), "Marginal", 2003, oil on canvas, signed lower left, signed and dated en verso, 60 in. x 36 in., unframed; accompanied by copy of certificate of authenticity. (2 pcs.) $7000/10000



245. James Michalopoulos (American/New Orleans, b. 1951), "You Figure It", 2001, oil on canvas, signed lower right, signed, titled and dated en verso, artist label on reverse of frame, 20 in. x 34 in., framed; accompanied by copy of certificate of authenticity. (2 pcs.) $5000/8000



245A. James Michalopoulos (American/New Orleans, b. 1951), "Up Standard", 2002, oil on canvas, signed lower left, signed and dated en verso, 28 in. x 22 in., framed; accompanied by copy of certificate of appraisal. (2 pcs.) $5000/8000



246. David Harouni (Iranian/New Orleans, b. 1962), "Untitled (Face with Crown)", oil on gallery-wrapped canvas, signed lower right, 60 in. x 47 3/4 in., unframed. $4000/6000



247. David Harouni (Iranian/New Orleans, b. 1962), "Untitled (Triptych)", 3 oils on gallery-wrapped canvas, signed, each 12 in. x 12 in., overall 12 in. x 36 in., unframed. (3 pcs.) $2000/3000

248. Ashley Longshore (American/New Orleans, 20th c.), "Audrey with Peacock Headdress and Silver Leaf Background", c. 2017, acrylic and mixed media on gallery-wrapped canvas with resin, signed on right edge, 24 in. x 24 in., unframed. $15000/25000



249. James Michalopoulos (American/New Orleans, b. 1951), "Architectural Portrait", 1991, oil on canvas, signed "Mitchell" lower left, signed and dated en verso, 19 3/4 in. x 24 in., framed. $2500/3500



250. Sister Gertrude Morgan (American/New Orleans, 1900-1980), "Jesus is on the Main Line", mixed media on paper mounted on burlap, signed "Missionary Morgan" lower right, inscribed upper right, 6 3/4 in. x 4 3/4 in.; and "Us Alright Repeat Jesus", mixed media on paper mounted on canvas, inscribed upper and lower right, 6 1/2 in. x 4 3/4 in., framed. (2 pcs.) $1200/1800
Provenance: New Orleans Private Collection, acquired in the 1970s.



251. Clementine Hunter (American/Louisiana, 1886-1988), "Annunciation", oil on canvas board, monogrammed lower right, partial sketch en verso, 18 in. x 24 in., framed. $3000/5000

252. Clementine Hunter (American/Louisiana, 1886-1988), "Uncle Tom's Cabin", oil on board, monogrammed mid-right, inscribed en verso, 16 in. x 24 in., framed. $3000/5000



253. Clementine Hunter (American/Louisiana, 1886-1988), "Uncle Tom's Cabin", c. 1975, oil on canvas, monogrammed lower right, pencil sketch en verso, dated and inscribed on stretcher, 18 in. x 24 in., framed. $4000/6000
Provenance: Acquired from the artist.

254. Karl Wolfe (American/Mississippi, 1904-1985), "Fall Flowers", 1974, oil on panel, signed and dated upper mid-right, sight 26 3/8 in. x 18 1/4 in., framed. $800/1200
Provenance: Natchez Art Association.

255. Karl Wolfe (American/Mississippi, 1904-1985), "Andrew Jackson", oil on unstretched canvas, unsigned, 15 1/2 in. x 9 3/4 in., framed. $2000/3000
Provenance: Natchez Art Association. Note: Karl Wolfe first moved to Jackson, Mississippi in 1931, following four years of study at The Art Institute of Chicago and a year of travel in Europe. He quickly established himself as a portrait painter among his many artistic talents and would eventually create over 800 portraits during his career. Among Karl's most well-known portraits is a life-size depiction of Andrew Jackson commissioned for the Jackson City Hall. Wolfe often painted preliminary sketches for his portraits, such as the study offered here, which provide a window into his artistic process. The final portrait of Jackson was unveiled to the public with much acclaim in November of 1965 at City Hall and now hangs in the Municipal Art Gallery.
Ref.: Black, Patti Carr. Mildred and Karl Wolfe. Jackson: Mississippi Museum of Art, 1994; Wolfe, Karl. Mississippi Artist - A Self-Portrait. Jackson: University Press of Mississippi, 1979.

256. Caroline Russell Compton (American/Mississippi, 1907-1987), "Bowmar Avenue, Vicksburg, Mississippi", oil on canvas laid on board, signed lower left, signed, titled and inscribed on backing paper, 14 in. x 18 in., framed. $1000/1500
Provenance: Natchez Art Association. Note: Caroline Russell Compton spent most of her life in Vicksburg, Mississippi, save for a brief time when she attended New York Grand Central School of Art. Compton worked as an art teacher during the Great Depression and as the state director for the Works Progress Administration’s Mississippi Art Project. She painted scenes that were very familiar to her, primarily the people, landscapes, houses, public buildings and riverfront of Vicksburg. In the painting on offer here, Compton uses a gray toned palette to convey a quaint neighborhood and the expansive landscape that extends beyond it to the Mississippi River.

257. Alberta Kinsey (American/New Orleans, 1875-1952), "French Quarter Courtyard", oil on canvas, signed lower right, 20 1/8 in. x 25 in., framed. $1500/2500

258. Robert Malcolm Rucker (American/Louisiana, 1932-2001), "Steamboat on the Mississippi River", oil on canvas, signed lower left, "Gilley's Gallery, Baton Rouge, LA" label en verso, 24 in. x 30 in., framed. $1000/2000
Provenance: Neal Auction Company, July 31, 2004, lot 469.



259. American School, late 19th c., "Sunset on the River", oil on canvas, bears signature "Wm. H. Buck" lower right, 24 in. x 40 in., ornate gilt frame. $5000/8000

260. Knute Heldner (Swedish/Louisiana, 1877-1952), "Autumn Landscape", oil on canvas, signed lower right, 25 3/4 in. x 32 in., framed. $1200/1800



261. Nicola Marschall (Prussian/Alabama, 1829-1917), "Napoleon I (1769-1821)", 1869, oil on canvas, signed and dated lower left, 30 in. x 25 in., framed. $4000/6000
Note: Nicola Marschall immigrated from Germany to the United States in 1849, arriving first in New Orleans before settling in Marion, Alabama. Throughout the antebellum period, Marschall gained reputation as a premier portraitist, and he painted such notable figures as Abraham Lincoln, Jefferson Davis, and Otto von Bismarck. The portrait of Napoleon presented here was created in 1869, forty-eight years after the emperor’s death. Although Napoleon had died almost a half a century earlier in exile on the island of St. Helena, he was still a subject of fascination, especially since his nephew, Charles-Louis Napoleon Bonaparte, became first President and then Emperor Napoleon III of France.
The figure depicted here, which Marschall so delicately portrays, is based on a painting from 1838 by Paul Delaroche titled Napoleon I in his Study, which includes a red and gold background, desk, and chair. Marschall’s decision to exclude the background in his work allows the viewer to focus more clearly on the imposing figure of the sitter without distraction, calling attention to his pensive gaze.



 

262. Marie Madeleine Seebold Molinary (American/New Orleans, 1866-1948), "Still Life of Chrysanthemums in a Vase", 1889, oil on canvas, signed and dated lower left, 20 in. x 26 in., framed. $2000/3000
Provenance: Neal Auction Company, Dec. 9, 1995, lot 561.

263. Anna Elizabeth Allen (American/Florida, 1881-1959), "Fishing Boats, New Smyrna, Florida", oil on board, signed lower right, 24 in. x 17 3/4 in., framed. $700/900
Note: A native of Orange City, Florida, Elizabeth Allen depicted the beautiful landscapes and seascapes of her home state on her canvases. After graduating from the Boston Art Institute, she stayed in Massachusetts to continue her studies with New England artists as well as teach at local schools. Returning to Florida, Allen painted in areas primarily around St. Petersburg, Orlando, and Daytona. Throughout her life, Allen exhibited her works in Florida and the South, winning numerous awards.

264. Melissa Bonin (American/Louisiana, b. 1960), "Watteau Series #6", 2002, oil on canvas, signed lower right, signed and dated en verso, 20 in. x 16 in., framed. $2000/4000
Note: Melissa Bonin has been painting her dream-like landscapes of Louisiana since she began taking art classes at the age of fifteen at the University of Southwestern Louisiana on the advice of renowned artist, Elemore Morgan, Jr. who saw her as his protégé. A native of New Iberia, Bonin often speaks fondly of her beloved Bayou Teche. “When I go out on the water, something happens to me. I feel an electricity, an energy.” The painting on offer here is a masterful manifestation of the spiritual connection she feels with her southern Louisiana surroundings. “Landscapes permit me to sit on the edge of abstraction and reality. You can manipulate colors in a way that produces a feeling of the landscape without copying everything realistically.”
Ref.: Kemp, John R. Expressions of Place: the Contemporary Louisiana Landscape. Jackson: University Press of Mississippi, 2016, p. 37.

265. Mildred Nungester Wolfe (American/Mississippi, 1912-2009), "Triptych (The Epiphany)", ceramic and mixed media on masonite, inscribed with artist and title en verso, 14 in. x 16 in., framed. $400/600
Provenance: Natchez Art Association.



266. Cordray Parker (American/Alabama, 1934-2007), "Daphne", bronze, driftwood and mixed media, h. 65 in., w. 45 in., d. 32 in. $3000/5000

267. Elliot Offner (American, 1931-2010), "Heron", bronze, signed on self-base, h. 18 1/4 in., w. 12 1/2 in., d. 13 3/4 in., wood base, overall h. 20 in. $800/1200



268. Nicola Simbari (Italian, 1927-2012), "Green Harbor", 1963, oil on canvas, signed and dated lower right, titled and inscribed on stretcher, inscribed and "Gallery Richelle" label with artist and title on backing board, 28 3/4 in. x 36 1/2 in., framed. $1000/1500
Provenance: Brunk Auctions, July 16, 2015, lot 375.

269. Angelo Pinto (Italian/American, 1908-1994), "Carousel", woodcut on paper, pencil-signed, dated and edition "50" lower margin, sheet 9 1/4 in. x 10 1/2 in., matted. $600/800

270. Andrew Newell Wyeth (American/Pennsylvania, 1917-2009), "Jacklight", 1982, color collotype, pencil-signed and numbered "164/300" lower margin, signed in plate lower right, printed by Triton Press, NY, published by Chads Ford Publication, 33 1/4 in. x 36 3/8 in., framed. $700/1000
Provenance: Windham Collection, Oxford, MS.

271. Norman Rockwell (American/New York, 1894-1978), "After Christmas", 1977, lithograph, pencil-signed lower right, pencil-numbered "82/200" lower left, printed by Eleanor Ettinger Gallery, sheet 31 in. x 23 3/4 in., framed. $600/900
Provenance: Windham Collection, Oxford, MS.

272. George Rodrigue (American/Louisiana, 1944-2013), "Mardi Gras Dogs", 1993, silkscreen, signed and numbered "113/190" lower right, 23 in. x 34 in., framed. $1500/2500
Ill.: Rodrigue, Wendy Wolfe. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 88.

273. George Rodrigue (American/Louisiana, 1944-2013), "Bear with Me: White", 1997, silkscreen, signed lower left and numbered "20/50" lower right, sight 22 1/2 in. x 32 1/2 in., framed. $2000/3000
Ill.: Rodrigue, Wendy Wolfe. George Rodrigue Prints: A Catalogue Raisonné 1970-2007. New York: Abrams, 2008, p. 109.



274. Debbie Fleming Caffery (American/Louisiana, b. 1948), "Ocotlan", 2002, ed. 4/10, "Bed of Calla Lilly's", ed. 1/10 and "Bernardo", 1997, ed. 2/25, 3 silver gelatin photographs, 2 pencil-signed, titled, dated and edition en verso, one pencil-signed, titled and edition en verso, sheets 24 in. x 20 in. to 20 in. x 24 in., unframed. (3 pcs.) $600/800



275. Louisiana Creole Cherrywood and Cypress Armoire, early 19th c., stepped cornice, recessed panel doors, enclosing a medial belt of three drawers centered within shelf interior, scalloped apron, cabriole legs, h. 79 1/4 in., w. 54 1/4 in., d. 23 in. $4000/6000
Provenance: Private Collection, acquired in New Orleans.



276. Fine American Chippendale Carved Mahogany Side Chair, late 18th c., Philadelphia, shaped crest rail centered by a shell medallion, vasiform splat, cabriole legs, ball and claw feet, h. 39 in., w. 20 in., d. 16 1/2 in. $1000/1500



277. Fine American Chippendale Carved Mahogany Side Chair, late 18th c., Philadelphia, serpentine crest rail centered by a shell medallion, vasiform splat, shaped seat rail, acanthus-carved ball and claw feet, h. 40 in., w. 21 in., d. 15 1/2 in. $1500/2500
Provenance: Kenneth E. Tuttle Antiques, Gardiner, ME, 1996.



278. American Classical Figured Mahogany Sideboard, early 19th c., New York, pedimented backsplash centered by Prince of Wales plume finial, brass gallery, three frieze drawers, paneled cabinet doors, fluted columnar stiles, foliate paw feet, h. 55 1/2 in., w. 61 in., d. 25 3/4 in. $4000/6000
Provenance: The Stanley Weiss Collection, Providence, RI.
Note: The elegant and highly figured sideboard in the present lot is closely related to a sideboard from the Charles Pendleton House in Providence, now part of the Rhode Island School of Design Museum. The Pendleton example is considered by some scholars to be a rare example of Duncan Phyfe case furniture and was included in the well-known Girl Scout Loan Exhibition of decorative arts at the American Art Galleries in New York in 1929.
Featuring a similar pedimented backsplash centered by a carved finial, columnar stiles, finely carved paw feet, and the same overall proportions as the Pendleton example, the sideboard offered here is versatile due to its size in comparison to larger sideboards of the period. Interestingly, the present lot features a Prince of Wales feather-carved finial, which was a common decorative theme at the Charles Pendleton House.
Ref.: Monkhouse, Christopher P., et al. American Furniture in the Pendleton House. Museum of Art, Rhode Island School of Design: 1986, pp. 115-116.



279. American Classical Carved Mahogany Chest of Drawers, early 19th c., probably New York or Boston, scrolled backsplash, pineapple finials, two frieze drawers over four drawers, foliate carved columnar stiles, acanthine paw feet, h. 64 1/2 in., w. 48 1/2 in., d. 24 1/4 in. $1200/1800
Provenance: The Stanley Weiss Collection, Providence, RI.

280. American Classical Bronze-Mounted 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.



281. American Classical Carved Mahogany Sideboard, early 19th c., Philadelphia, possibly Anthony Quervelle or Charles White, mirror flanked by cornucopia brackets, marble top flanked by bolection drawers, conforming pedestal cabinets centered by a fan-carved door, Ionic columnar supports, bulbous-turned foliate feet, h. 69 in., w. 73 1/2 in., d. 22 1/2 in. $4000/6000
Provenance: Didier, Inc., Estate of David A. Wojciechowski.
Note: The carved cornucopia accents and fan-carved cabinet door are signature elements of Philadelphia sideboards by cabinetmakers such as Anthony G. Quervelle or Charles White. For related sideboards and other case pieces, see "The Furniture of Anthony G. Quervelle, Part IV" by Robert C. Smith, The Magazine Antiques, January 1974 and "Charles White of Philadelphia," The Magazine Antiques, May 2000.



282. George III Inlaid Figured Mahogany Linen Press, early 19th c., broken arch cornice, paneled doors, linen drawer interior, lower case with four graduated drawers, flared legs, shaped apron, h. 97 1/4 in., w. 49 in., d. 22 in. $2500/3500
Provenance: The Stanley Weiss Collection, Providence, RI.



283. William IV Carved Mahogany Sofa, c. 1830, shaped crest rail surmounted by eagle heads, lyre-form uprights, turned, tapered and reeded legs, casters, h. 35 1/2 in., l. 84 in., d. 24 in. $2000/3000
Provenance: The Stanley Weiss Collection, Providence, RI.

284. Set of Regency Rosewood Quartetto Tables, c. 1820, rectangular graduated tops, turned uprights, bowed stretchers, arched trestle legs, h. 29 3/4 in., w. 24 in., d. 11 3/4 in. $1000/1500
Provenance: Reindeer Antiques Ltd., London, England; Windham Collection, Oxford, MS.



285. English Inlaid Mahogany Music Cabinet, early 20th c., labeled "Lidstone, Music Cabinet, London", 7 innovative drawers, shaped apron, cabriole legs, pad feet, h. 44 3/4 in., w. 19 3/4 in., d. 14 3/4 in. $800/1200
Provenance: Windham Collection, Oxford, MS.

286. Montague Dawson (British, 1890-1973), "Running Free", watercolor on paper, signed lower left, 17 in. x 26 1/4 in., framed. $10000/15000
Provenance: Private Collection, Lafayette, LA.
Note: A self-taught artist who had been painting since the age of five, Montague Dawson joined the Royal Navy during World War I and continued to paint, as well as contributed illustrations of the war to magazines such as Sphere. Having a very detailed knowledge of maritime subject matter from his childhood near the harbor at Southampton Water and from his time in the Royal Navy, Dawson was naturally drawn to painting ship scenes. Dawson would first draw meticulous studies before creating the final version of his detailed watercolors, ensuring that the boats and ships he painted were accurate. The beautifully rendered sailing vessel amidst the crashing waves presented here is a testament to Dawson’s skills with composition and his technical ability.



287. After David Roberts, R.A. (Scottish, 1796-1864), "Egypt and the Near East", 5 color lithographs, drawn by Louis Haghe (British, 1806-1885), published by F.G. Moon, London, sights 11 3/4 in. x 9 3/4 in. to 19 in. x 12 7/8 in., framed alike. (5 pcs.) $1000/1500
Provenance: Didier, Inc., Estate of David A. Wojciechowski.

288. West Indies Carved Mahogany Armoire, c. 1830-1840, reeded, molded and stepped cornice above flush panel doors, fluted false stile, shelf interior, turned legs, h. 83 in., w. 57 in., d. 23 in. $3000/5000
Provenance: Sir Arthur Norman Wolffsohn, Governor of British Honduras, 1946-1947, and Lady Erica Wolffsohn, Mobile, AL.

289. West Indies Carved Mahogany Four Poster Bed, c. 1830-1840, finely carved spiral-turned posts, oval paneled headboard, turned legs, h. 93 1/2 in., l. 76 1/2 in., w. 54 1/2 in. $2500/4000
Provenance: Sir Arthur Norman Wolffsohn, Governor of British Honduras, 1946-1947, and Lady Erica Wolffsohn, Mobile, AL.

290. Pair of Anglo-Indian Carved Ebonized Tropical Hardwood Armchairs in the Regency Taste, tablet crest, pierced foliate back, reeded arms and uprights, reeded seat rail, turned tapered reeded legs, h. 34 in., w. 22 in., d. 17 5/8 in. $1000/1500
Provenance: Windham Collection, Oxford, MS.

291. American Classical Carved Mahogany Work Table, c. 1810, Philadelphia, fitted frieze drawer, work basket, columnar supports, rectangular plinth, saber legs, brass paw feet, casters. $800/1200
Provenance: Didier, Inc., Estate of David A. Wojciechowski.

292. 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. $1000/1500

293. American Late Classical Carved Mahogany Pedestal, mid-19th c., gadrooned top, scrolled supports with lion's heads paired with turned foliate-carved supports, shaped plinth, paw feet. $1000/1500



294. Anglo-Colonial Carved Hardwood Library Chair, early 20th c., pierced foliate crest, scrolled dolphin arms, serpentine apron, dolphin feet, h. 41 1/2 in., w. 31 in., d. 24 in. $300/500

295. Rare English Mahogany Multi-Form Gentleman's Basin Stand, probably early 19th c., hinged top, fitted interior, h. 31 in., w. 26 in., d. 18 in. $400/600
Provenance: Belle Alliance Mansion, Donaldsonville, LA.

296. George III Figured Mahogany Concertina-Action Games Table, early 19th c., serpentine foldover top, inset leather playing surface, conforming frieze, elegantly carved cabriole legs, h. 29 in., w. 36 5/8 in., d. (closed) 18 1/2 in., d. (opened) 37 in. $800/1200



297. Chippendale Carved Mahogany Games Table, late 18th c., shaped foldover top, baize playing surface, conforming frieze, game piece drawer, cabriole legs, ball and claw feet, h. 28 1/4 in., w. 32 1/2 in., d. (closed) 16 in., d. (open) 32 in. $1500/2500
Provenance: The Stanley Weiss Collection, Providence, RI.



298. Chippendale Carved Mahogany Secretary Bureau, late 18th c., foliate and Greek key carved cornice, two drawers over a fall front door and fitted interior, three lower drawers, gadrooned ogee bracket feet, h. 63 1/4 in., w. 43 in., d. 21 3/4 in. $2500/4000
Provenance: The Stanley Weiss Collection, Providence, RI.

299. George III Carved Mahogany Chest-on-Chest, early 19th c., Greek key cornice, upper case with five drawers, chamfered blind fretwork stiles; lower case with dressing slide and three drawers, bracket feet, h. 70 3/4 in., w. 41 1/2 in., d. 22 in. $1500/2500

300. William IV Carved Mahogany Hall Bench, c. 1835, scrolled shield seatback, shaped seat, baluster-turned legs, h. 33 3/4 in., w. 47 in., d. 18 in. $1200/1800

Provenance: Anthony Outred Antiques, Ltd., London, England; Windham Collection, Oxford, MS.


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