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

You are at > Lots 301-400

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301 George Rodrigue (American/Louisiana, 1944‑2013), "Rodrigue: A Man & His Dog", 1993, silkscreen, signed lower right, inscribed "Artist Proof" lower left, ed. of 90, 23 in. x 16 in., unframed. $400/600 Ill.: Rodrigue, George and Wendy Wolfe. George Rodrigue Prints: A Catalogue Raisonné, 1970‑2007. New York: Abrams, 2008, p. 90.



302. Clare Leighton (American, 1898‑1989), "The Baptizing", wood engraving, pencil‑signed, titled and numbered "65/150" lower margin, "AA Dealers Association of America" label en verso, 7 in. x 4 3/4 in., framed. $500/700

303. Palmer Schoppe (American/California, 1912‑2001), "'Speriences Meetin'", lithograph, pencil‑signed, titled and numbered "4/25" lower margin, 13 in. x 9 3/4 in., matted. $700/1000



304. Ellsworth Woodward (American/New Orleans, 1861‑1939), "French Quarter" and "Apple Trees", 2 drypoint etchings, each signed in plate lower right and one pencil‑signed and titled lower margin, 5 3/4 in. x 7 1/2 in. and 5 3/4 in. x 8 1/2 in., framed alike. (2 pcs.) $600/800

305. Aaronel deRoy Gruber (American/Pennsylvania, 1918‑2011), "Untitled: Tower in Pink, Orange, Blue and Gray", Plexiglas, unsigned, h. 74 in., w. 23 in., d. 23 1/2 in., black Plexiglas base, overall h. 86 1/4 in. $2500/3500 Provenance: Collection of Michael Brown and Linda Green, New Orleans. Note: Originally a painter, Aaronel deRoy Gruber began by creating vast paintings then trying her hand at three-dimensions by manipulating her canvases to jut outward into sculptural reliefs. Upon her introduction to sculptor David Smith in 1961, Gruber found herself charmed by the possibility of forging works from steel discords. The fascination with sculpture would later translate to her Plexiglas pieces, a medium the artist enjoyed, "I like its transparency, the overlapping of colors forming other colors and the effect of contained light within." The play with color and light is showcased in the lot offered here, a monumental tower containing layers of multicolor Plexiglas visible from the outside. As she described her work, "I interplay convex and concave forms to create a feeling of balancing on the edge of a precipice, like an odd-shaped sphere stopped in action and made to balance in a moment in time."
Ref.: "About Aaronel deRoy Gruber." Aaronel deRoy Gruber. www.aarnel.com. Accessed July 26, 2017.



306. Lin Emery (American/New Orleans, b. 1926), "Leaf Play", aluminum, magnets and motor, signed, painted stand, overall h. 42 1/2 in. $2000/3000
Provenance: Joel Weinstock Collection, New Orleans, LA.



307. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), "Totem", 1991, painted wood and paper sculpture, signed and dated on bottom of self‑base, h. 15 in., w. 5 1/2 in., d. 5 1/2 in. $1000/1500
Provenance: Collection of Judy and the late Morris (1939‑2017) Massey, New Orleans.



308. Richard Jolley (American/Tennessee, b. 1952), "Fish Wall Plaque", 1989, blown and sandblasted glass, signed and dated on reverse, h. 9 in., w. 11 1/2 in., d. 2 1/2 in. $1000/1500
Provenance: Collection of Judy and the late Morris (1939‑2017) Massey, New Orleans.



309. Robert Wick (American/Arizona, 20th c.), "Golden Head", cast bronze on stone base, unsigned, h. 16 in., w. 14 in., d. 11 in., pedestal, overall h. 56 1/2 in. $1000/1500
Provenance: Collection of Michael Brown and Linda Green, New Orleans. Note: Robert Wick worked in his father’s newspaper business and parlayed his position to support various environmental endeavors against air and water pollution, all while pursuing his passion for creating art. Often incorporating live plants and nature into his works, his impressive metal sculptures serve a seamless transition between art and nature. In the lot offered here, the warm palette of the brushed bronze lends itself well to the organic form of the sculpture, which could itself be mistaken for a natural rock formation. There is also a suggestion of a figural head-like shape which underscore’s Wick’s theory that, "the outside world of nature and the inside world of man are one and the same." : "Robert Wick Living Bronze Sculpture: Earth, Life, Man". Robert Wick. www.robertwick.com. Accessed July 26, 2017.

310. American Aesthetic Carved Rosewood and "Kirihame" Firescreen, c. 1880, probably New York, posts carved with foliage, twists, and beading, paw feet with brass and glass ball casters; the revolving panel foliate carved, inset with patchwork and silk textiles, h. 61 1/2 in., w. 30 1/2 in., d. 20 in. $1500/2500

311. Continental Silverplate Campagna Urn, c. 1875, dragon handles, figural frieze with dragon, red marble base, h. 18 3/4 in., w. 14 3/4 in.; inner liner dia. 7 1/4 in.; base h. 1 3/4 in., w. 8 in., d. 8 in. $500/750

312. Pair of Georgian‑Style Silverplate Three‑Light Candelabra, 20th c., gadroon borders, removable candlearms, h. 15 5/8 in. $400/600

313. Kirk "Repoussé" Pattern Sterling Silver Flatware Service, pat. 1924, incl. 12 each: forks, l. 7 7/8 in., knives, l 9 5/8 in., salad forks, dessert spoons, cream soup spoons, teaspoons and butter spreaders (fh), 3 tablespoons, asparagus serving fork, sugar shell, master butter knife, berry spoon, tomato server and steak carving knife and fork, (94 pcs.), total wt. (weighable) 111.55 troy ozs.; presented in a mahogany Reed and Barton fitted case. $2500/3500

314. French Patinated Bronze Five‑Light Chandelier, c. 1900, winged maiden arms, frosted and star‑cut globes, h. 36 in., dia. 23 in. $1000/1500

315. Pair of Gilt Bronze‑Mounted "Blue de Roi" Porcelain Carcel Lamps, 19th/early 20th c., bottle‑form body with garlic mouth, bronze cast with Chinoiserie "ruyi" scrolls, h. 21 1/2 in., electrified and mounted with white globes and clear glass shades. $1000/1500

316. Pair of Napoleon III Brass and Bronze Carcel Lamps, c. 1870, marked "F. Barbedienne", relief cast with frieze of figures personifying the Arts, bases with lion's paw feet, h. 18 1/8 in., electrified and mounted with period etched glass globes and later clear glass shades. $1000/1500



317. Louis Comfort Tiffany Blown and Tooled Favrile Glass Finger Bowl and Underplate, c. 1902‑1919, possibly Merovingian pattern, bases incised "L.C.T. / 8920", bowl h. 2 1/2 in., dia. 4 3/8 in., plate dia. 6 in. $400/600
Provenance: Collection of E. John Bullard, New Orleans.

318. Pair of Leaded Glass Tazzas, c. 1850, Bohemian or Anglo‑Irish, petal‑lobed rims, h. 7 3/4 in., dia. 10 1/4 in. $400/600 Provenance: Collection of E. John Bullard, New Orleans, LA.



319. Two Louis Comfort Tiffany Blown and Tooled Favrile Glass Salts, c. 1902‑1919, one with ruffled rim, other footed, bases incised "L.C.T. / Q7474" and "L.C.T. / Q8972", dia. 2 3/4 in. and h. 1 3/8 in., dia. 2 3/8 in. $200/300
Provenance: Collection of E. John Bullard, New Orleans.

320. Pair of George Duncan & Sons Glass Rose Globes in Snail Pattern, c. 1891, unmarked, pattern no. 360, h. 4 1/4 in. and 4 3/8 in. $75/125
Ref.: Bill Jenks and Jerry Luna. Early American Pattern Glass 1850‑1910. p. 484‑486.



321. French Art Glass Vase, 20th c., marked "Gallé", cut from green to yellowish pink with rose decoration, h. 19 3/4 in. $500/700



322. Group of Glass Table Articles, incl. "Asters" bowl, base with reverse signature "R. Lalique / France", dia 10 in.; "Poissons" plate, well with raised "R. Lalique", dia. 10 3/4 in.; and salamander figurine, with "Lalique France", l. 6 1/4 in. (3 pcs.) $600/800



323. American Renaissance Ebonized and Gilt‑Incised Walnut Portfolio Stand, c. 1870, architectonic crest, fall‑front door centered by a medallion, shaped supports, trestle base, turned stretcher, h. 44 in., w. 27 in., d. 18 in. $500/750

324. Georgian Carved Mahogany Silver Table, 18th c., galleried top, frieze drawer, cabriole legs, hoof feet, h. 30 1/2 in., w. 38 in., d. 23 5/8 in. $1000/1500



325. Georgian Walnut and Figured Mahogany Cellarette on Stand, early 19th c., sarcophagus form with chamfered corners and lower drawer, conforming stand, h. 24 1/2 in., w. 15 in., d. 10 1/2 in. $700/1000

326. Antique Georgian‑Style Mahogany Writing Table, inset leather top, two frieze drawers, reverse with faux drawers, turned and fluted legs, brass cuffs, casters, h. 29 1/2 in., w. 54 in., d. 29 1/2 in. $1500/2000



327. Georgian Carved Mahogany Concertina Action Games Table, late 18th c., foldover top with outset corners, baize‑lined playing surface, conforming frieze, tapered legs, pad feet, casters, h. 29 1/4 in., w. 32 3/4 in., d. (closed) 15 in., d. (open) 30 in. $700/1000

328. American or English Carved Mahogany Open Breakfront Bookcase, c. 1830‑1840 and later, molded top, adjustable shelf interior, plinth base, h. 63 in., w. 91 1/2 in., d. 14 1/2 in. Note: Has been altered. $1000/1500
Provenance: Collection of Mrs. H. Lauer, Rhode Island.



329. George III Inlaid Mahogany Secretary Bookcase, late 18th/early 19th c., stepped cornice, frieze with shell inlay, glazed doors, fall‑front desk with a fitted interior, over four graduated drawers, scalloped apron, "French" feet, h. 89 in., w. 42 1/4 in., d. 23 3/4 in. Note: Later cornice. $1500/2500

330. Fine Queen Anne Carved Walnut Stool, late 18th/early 19th c., acanthus‑carved cabriole legs, pad feet, h. 18 in., w. 22 in., d. 18 in. $700/900



331. Georgian Carved Mahogany Sideboard, early 19th c., bowfront top with reeded edge, three frieze drawers, turned legs, h. 35 1/2 in., w. 68 1/4 in., d. 24 1/2 in. $700/1000



332. George III‑Style Satinwood‑Inlaid Mahogany Breakfront, 19th c., swan's neck crest with rosettes, dentilated cornice above glazed doors enclosing adjustable shelves, fall‑front secretary drawer with fitted interior, oval inlaid doors enclosing sliding trays, blocked base, h. 102 1/2 in., w. 92 1/2 in., d. 24 in. $7000/9000
Provenance: Norman Adams Ltd., London.

333. Georgian Inlaid Mahogany Server, 19th c., frieze drawer, square tapered legs, h. 28 in., w. 41 in., d. 21 3/4 in. $400/600

334. Georgian Carved Mahogany Commode, 19th c., galleried top, carrying handles, pull‑out stand, scalloped apron, square legs, h. 29 in., w. 20 1/2 in., d. 19 in. $300/500

335. George III Mahogany Cellarette, late 18th c., with alterations, in the form of a drop‑leaf table, rectangular top opening to a void interior, previously divided, square legs, brass casters, h. 28 in., w. 34 in., d. 21 in. $500/1000

336. West Indies Tropical Hardwood Armchair, probably early 19th c., Trinidad, serpentine crest rail, pierced splat, incurvate arms and arm supports, trapezoidal seat, square tapered legs, stretchers, h. 36 in., w. 22 3/4 in., d. 20 in. $200/400
Provenance: The Sturm Collection.



337. American Federal Carved Mahogany Games Table, early 19th c., attr. to Thomas Seymour, Boston, fold‑over swivel top, spiral‑turned supports and stretcher, reeded saber legs, brass paw feet, casters, h. 28 1/2 in., w. 35 1/4 in., d. (open) 35 1/2 in., d. (closed) 17 3/4 in. $800/1200

338. American Classical Carved Mahogany Sofa, c. 1815, incurvate crest rail with eagle's head terminals, reeded arms and seat rail, foliate‑winged hairy paw feet, h. 35 in., w. 87 in., d. 26 in. $300/500



339. American Classical Painted, Carved and Gilded Rosewood Pier Table, early 19th c., New York, marble top, frieze centered by a cluster of fruit, columnar supports with foliate capitals, mirror back, incurvate plinth, acanthus‑carved paw feet, h. 36 in., w. 42 1/4 in., d. 17 3/4 in. $3000/5000



340. American Gothic Carved Oak Armchair, 19th c., foliate finials, reticulated back, fluted arms, trefoil pierced returns, incurvate seat, curule base, h. 55 1/2 in., w. 28 in., d. 26 1/2 in. $1000/1500

341 Pair of American Gothic Carved Walnut Side Chairs, mid‑19th c., high back surmounted by crocketed finial, pierced crest rail, padded back and seat in cowhide leopard print upholstery, blocked seat rail, turned legs, h. 50 in., w. 20 in., d. 22 in. $1500/2500
Provenance: From the Collection of Cher; accompanied by a Certificate of Authenticity.



342. American Gothic Carved Walnut Armchair, c. 1845‑1850, attr. to Thomas Brooks, New York, pointed crest surmounted by a foliate‑carved finial, quatrefoil and pointed arch‑pierced splat, lancet stiles, down‑scrolling arms terminating in carved clover leaves, conforming seat rail, ring‑turned and faceted tapered legs, double‑ball feet, h. 48 in., w. 22 3/4 in., d. 22 in. $1500/1800
Ref.: Home and Warren, The Gothic Revival Style in America, 1830‑1870, The Museum of Fine Arts, Houston, 1976, p. 19 20, & 32‑33 for image of a related suite at Roseland Cottage in Woodstock, CT.

343. Good American Classical Carved Mahogany Work Table, early 19th c., probably New York, octagonal top, fitted interior compartment, conforming case with two drawers, acanthus‑carved standard, foliate‑carved hairy paw feet, casters, h. 30 3/4 in., w. 23 5/8 in., d. 16 3/4 in. $1000/1500



344. American Rococo Carved and Laminated Rosewood Center Table, c. 1850‑1860, attr. to John Henry Belter, turtleback marble top, pierced grapevine‑carved apron, cabriole legs, foliate stretcher centered by basket of flowers, casters, h. 28 1/2 in., w. 41 in., d. 29 in. $12000/18000
Provenance: The Service Collection, Estate of Grant A. Oakes, Warren, OH.



345. Very Rare and Historic American Rococo Carved and Laminated Rosewood Parlor Suite, c. 1850‑1860, attr. to John Henry Belter, New York, incl. triple back sofa, pair of méridiennes and four side chairs, each with carved historical bust, scrolled and pierced back, shaped seat, foliate apron, turned stop‑fluted legs, casters, later Napoleonic bee upholstery, sofa h. 44 in., w. 73 1/2 in., d. 30 in.; méridiennes h. 38 in., w. 42 in., d. 24 in. $75000/125000
Provenance: Noted collection of Richard and Gloria Manney; The Service Collection, Estate of Grant A. Oakes, Warren, OH. Note: The suite offered here is an exceptionally rare group of furniture by the illustrious New York cabinetmaker John Henry Belter. The suite, which prominently features carved busts of American political and European literary luminaries, is reflective of a specific moment in mid-19th century U.S. history and pays homage to the identity and idealism of the young and expanding American republic. The busts surmounting the settee are identified as George Washington, Benjamin Franklin, and Thomas Jefferson, who have been historicized within American culture as the most influential Founding Fathers of the United States. The two méridiennes feature the busts of English poets William Shakespeare and John Milton, and the four side chairs feature busts of Chaucer, Dante, Virgil, and Homer.
The grouping of prominent Americans with some of the most influential literary figures of English and European history may have been a statement representative of the growing power and importance of the United States on the world stage and establishing Washington, Franklin, and Jefferson as philosophical intellectuals on par with these literary figures—a notable commentary coming from Belter, who immigrated to the U.S. from Germany in 1833. The seven-piece suite is also stylistically rare among Belter’s work, featuring exaggerated scrolled backs and Louis XVI-style fluted legs, as opposed to the typical Louis XV-style cabriole leg more commonly seen on Belter furniture. The side chairs include round seats, in contrast to the signature serpentine-shaped Belter seat. Due to the political and literary decorative themes within this suite, it is possible Belter intended for this group to be completely distinctive from his more naturalistic Rococo style. Ill./Ref.: Dubrow, Eilieen and Richard. American Furniture of the 19th Century, 1840-1888. Atglen, PA: Schiffer, 1983, pp. 110-112; Schwartz, Marvin. Edward Stanek, and Douglas True. The Furniture of John Henry Belter and the Rococo Revival. New York: Dutton, 1981, pp. 48, 49, 60, 66.



346. Three American Gothic Carved Mahogany Side Chairs, c. 1840, attr. to J. & J.W. Meeks, New York, trefoil pierced crest rail, serpentine back, serpentine seat rail, incurvate legs, h. 34 in., w. 19 1/2 in., d. 17 in. $1200/1800
Ref.: In Pointed Style: The Gothic Revival in America, 1800‑1860, Elizabeth Feld and Stuart P. Feld, Hirschl & Adler Galleries, NY, 2006, p. 96.



347. American Gothic Carved Mahogany Side Chair, mid‑19th c., high back surmounted by finials, pierced crest rail, padded back and seat, blocked seat rail, turned legs, h. 51 in., w. 19 3/4 in., d. 18 in. $1000/2000



348. Fine American Rococo Carved and Laminated Rosewood Sofa, attr. to John Henry Belter, in the pattern commonly referred to as "Rosalie", triple back rose and fruit carved crests, serpentine arms, conforming serpentine seat rail, rose carved cabriole legs, h. 37 in., w. 61 1/2 in., d. 34 in. $4000/6000



349. Good Pair of American Gothic Carved Mahogany Side Chairs, c. 1840, possibly Crawford Riddell, Philadelphia, foliate‑carved finials, arched crest rail, pierced splat, blocked seat rail, square tapered legs, h. 34 in., w. 17 in., d. 19 in. $500/800
Note: The form of the chairs offered here is closely related to a group of chairs from the dining room of Melrose Mansion in Natchez, Mississippi, which are attributed to Philadelphia Gothic Revival cabinetmaker Crawford Riddell. : Natchez National Historical Park. www.nps.gov/natc/index.htm. Accessed January 4, 2018.



350. Wooton Carved and Burled Walnut Standard Grade Secretary Cabinet, c. 1880, Wooton, Indianapolis, in the "Queen Anne" pattern, superstructure with a spindled gallery, carved frieze, doors open to a fall front writing surface and upright files, doors fitted with cartonnier boxes and shelves, molded feet, casters, h. 68 in., w. 42 1/2 in., d. 31 1/2 in. $2000/3000

351 Girolamo Ruscelli, "Nueva Hispania Tabula Nova", Venice, c. 1561‑1573, copper‑engraved map, unrecorded state, Italian text and historiated initial on verso, 7 3/4 in. x 9 5/8 in. (with title), matted and framed. $600/900
Ref.: Martin & Martin, Maps of Texas and the Southwest, 1513‑1900, Austin, Texas State Historical Association, 1999, pg. 68.

352. Isaac Tirion, "Grondvlakte van Nieuw Orleans, de Hoosdstad van Louisiana. / De Uitloop van de Rivier Missisippi. / De Oostelyke ingang van de Missisippi, met een Plan van het Fort, 't welk het Kanaal beheerscht", Amsterdam, 1767, three copper‑engraved maps on one sheet, 13 in. x 17 3/8 in., matted and framed. $500/700

353. Jean Janvier, "L'Amerique Septentrionale divisée en ses principaux etats", Paris, Chez Lattre, 1762, copper‑engraved map, hand‑colored engraved map, 12 in. x 17 5/8 in., matted and framed. $500/700
Note: The map features the "Sea of the West" above New Albion, linked by an equally mythical river system to Hudson Bay.

354. Tommaso Porcacchi, "Mondo Nuovo", Venice, 1576, engraved map from L'Isole piu Famose del Mondo, 4 in. x 5 5/8 in., matted and framed. $400/600

355. [Satirical Map of the Mississippi Bubble], "Afbeeldinge...GEKS‑KOP...", engraved map depicting the head of a fool, with vignette and text; commenting on the collapse of financier John Law's Compagnie de la Louisiane d'Occident, 11 1/2 in. x 9 in. with text; together with "Louisiana by de Rivier Missisippi", 7 1/8 in. x 6 1/8 in.; both from Het Groote Tafereel der Dwaasheid, Amsterdam, 1720, unframed. $500/700

356. Nicolas de Fer, "Les Costes aux Environs de la Riviere Misisipi...", Paris, 1701, hand‑colored engraved map, with detailed nomenclature of Indian tribes, the cartouche depicting the assassination of La Salle, 8 1/2 in. x 13 in., unframed. $600/900
Ref.: Martin, James, Maps of Texas and the Southwest, 1513‑1900, Austin, 1999, pg. 91.

357. John Stobart (British, b. 1929), "Hannibal, A View from Mark Twain's Boyhood Home", offset lithograph, pencil‑signed and numbered "157/750" lower margin, published by Maritime Heritage Prints, Inc., "A.B. Closson, Jr., Cincinnati, OH" labels en verso, sight 22 in. x 29 1/4 in., framed. $300/500

358. John Stobart (British, b. 1929), "Savannah, River Street by Moonlight in 1842", offset lithograph, pencil‑signed and numbered "208/750" lower margin, published by Maritime Heritage Prints, Inc., printed artist biography and "A.B. Clossom Jr., Cincinnati, OH" labels en verso, sight 23 in. x 30 in., framed. $300/500



359. John Stobart (British, b. 1929), "Cincinnati The Queen City of the West in 1876", offset lithograph, pencil‑signed and numbered "465/750" lower margin, published by Maritime Heritage Prints, Inc., printed artist biography and "A.B. Closson's, Jr. Co., Cincinnati, OH" labels en verso, sight 23 1/4 in. x 33 in., framed. $300/500



360. Antique American Carved Mahogany Extension Dining Table, mid‑19th c., probably Philadelphia, circular top with rope‑carved edge, plain frieze, bulbous and foliate‑carved standard, foliate‑scrolled legs, casters, opens to receive four leaves (each w. 15 in.), h. 30 1/2 in., dia. (closed) 54 in., dia. (open) 114 in. $800/1200

361. American Grain‑Painted Chest, mid‑19th c., two drawers over three graduated drawers, paneled sides, flared legs. Note: Found in original state. $500/750

362. American Walnut Harvest Table, 19th c., probably Southern, drop‑leaf top, turned legs, two swing legs, casters, h. 28 3/4 in., l. 72 1/4 in., d. 42 1/4 in. (open), d. 24 1/4 in. (closed). $700/1000

363. American Southern Carved Walnut Cupboard, 19th c., stepped cornice, glazed doors, shelf interior, two frieze drawers, two lower paneled doors, scalloped apron, bracket feet, h. 83 in., w. 52 3/4 in., d. 19 in. Note: Missing one glazed panel. $800/1200

364. Antique American Painted Windsor Armchair, 19th c., scrolled crest rail, spindled back, saddle seat, turned legs and stretcher, h. 44 1/2 in., w. 25 1/2 in., d. 18 in. $150/250

365. Antique American Gothic Carved Mahogany Pedestal, tapered octagonal form, inset granite top, plaque inscribed "presented in honor of Evva M. and Robert P. Wetzel by their children", h. 38 3/4 in., dia. 21. $200/400

366. American Chippendale Walnut Chest of Drawers with Linen Press, late 18th c., probably Pennsylvania, screw press superstructure, two drawers over three graduated drawers, shaped bracket feet, h. 66 in., w. 37 1/2 in., d. 20 in. $500/700

367. Louis Elizabeth Andrews Fischer (American/New Orleans, 1901‑1974, act. Newcomb College 1917‑1921), designs for book illustration and bookplate, graphite and ink on paper, one initialed lower right, other signed lower right, 14 in. x 19 in. and 14 in. x 9 3/4 in., unframed. (2 pcs.) $300/500
Provenance: Estate of Robert Stuart (Louis Fischer's executor).

368. Louis Elizabeth Andrews Fischer (American/New Orleans, 1901‑1974, act. Newcomb College 1917‑1921), "Balcony Over Antique Shop ‑ Royal St., New Orleans", c. 1925, graphite and ink on paper mounted on board, signed lower right, 13 3/4 in. x 10 in., unframed. $300/500
Provenance: Estate of Robert Stuart (Louis Fischer's executor).



369. Lulu King Saxon (American/New Orleans, 1855‑1927), "Bayou Cabin", oil on canvas, signed lower right, 15 in. x 18 in., framed. $3000/5000



370. Knute Heldner (Swedish/Louisiana, 1877‑1952), "Cabin and Pirogue in the Louisiana Bayou", oil on canvas, signed lower left, 24 in. x 21 in., framed. $2500/3500



371. Will Hinds (American/Louisiana, 1936‑2015), "Sunlight through the Trees", oil on masonite, signed lower right, 12 in. x 18 in., framed. $1000/1500

372. Charles Oglesby Longabaugh (American/Louisiana, 1885‑1944), "The Batture" and "Fishing under the Live Oak Tree, Lafitte, Louisiana", watercolor on canvas board and watercolor on paper, former initialed "C.O.L" lower left, both titled en verso, 12 in. x 16 in. and 12 in. x 9 1/4 in., unframed. (2 pcs.) $800/1200
Provenance: Descended in the family of the artist.



373. Charles Oglesby Longabaugh (American/Louisiana, 1885‑1944), "Raised Cabin with Goat, Washington, Louisiana", 1943, and "Pakenham Oaks, St. Bernard Parish", 2 watercolors on paper, former signed and dated lower center, both pencil‑titled en verso, each 9 1/4 in. x 12 in., unframed. (2 pcs.) $600/800
Provenance: Descended in the family of the artist.



374. Arnold E. Turtle (British/New Orleans, 1892‑1954), "The Tambourine", oil on canvas, signed lower right, 30 in. x 24 in., unframed. $1000/1500
Provenance: Descended in the family of the artist.

375. Arnold E. Turtle (British/New Orleans, 1892‑1954), "Study" and "The Red Skirt", 2 oils on canvas board, each signed lower right, latter titled en verso, each 20 in. x 16 in., both framed. (2 pcs.) $1500/2500 Provenance: Descended in the family of the artist.

376. Morris Henry Hobbs (American/New Orleans, 1892‑1967), "Guzmania Bromeliad and Rose‑throated Becard", watercolor on paper, signed lower left, sight 20 in. x 14 1/4 in., framed. $1000/1500 Provenance: Descended in the family of the artist.

377. Alexander John Drysdale (American/New Orleans, 1870‑1934), "Live Oak on the Bayou", oil wash on board, signed lower left, sight 14 1/4 in. x 19 1/2 in., framed. $1500/2500



378. Alexander John Drysdale (American/New Orleans, 1870‑1934), "Live Oak Tree with Lily Pads", oil wash on board, signed lower left, 10 in. x 30 in., period frame. $1200/1800

379. Alexander John Drysdale (American/New Orleans, 1870‑1934), "Louisiana Bayou with Live Oak Tree and Lily Pads", oil wash on board, signed lower left, 10 in. x 30 in., period frame. $800/1200



380. Alberta Kinsey (American/Louisiana, 1875‑1952), "Royal Street, French Quarter", oil on canvas board, signed lower left, handwritten inscription with provenance en verso, 17 in. x 15 in., framed. $1000/1500
Provenance: Acquired from the artist, New Orleans, 1951.

381 Valerie Jaudon (American/Mississippi, b. 1945), "Pascagoula", 1974, oil on gallery‑wrapped canvas, signed, titled and dated en verso, 24 in. x 24 in., unframed. $2000/3000
Note: Valerie Jaudon is famously linked to the Pattern and Decoration movement of the 1970s, whose goal was to reject the established hierarchies of Western art as well as the prevailing praise for Conceptualism and Minimalism that was dominating the art world at the time. Jaudon and other members of the movement aimed to elevate the aesthetics of decorative patterns and arts traditionally considered "feminine" and "domestic" (including crafting, embroidery, knitting, etc…). They embraced the arts of the Middle East, Asia, Africa, and South and Central America and challenged the superiority of Western art historical traditions. The lot offered here showcases Jaudon’s adept skill in using color and pattern to define her canvases. Her short, dense brushstrokes create an almost mosaic-like field of color with each shade carefully placed to balance the composition. Ref.: Jaudon, Valerie and Joyce Kozloff. "Art Hysterical Notions of Progress and Culture." Heresies. 4 (1977-1978): 38-42.

382. Charles Whitfield Richards (American/New Orleans, 1906‑1992), "Pirate's Alley, French Quarter", 1977, oil on canvas, signed lower right, titled, dated and "The Fortier Gallery, Chartres St." label, en verso, 16 in. x 12 in., framed. $500/800



383. Charles Whitfield Richards (American/New Orleans, 1906‑1992), "Farmer's Market, French Market", oil on canvas, signed lower right, titled and "The Fortier Gallery, Chartres St., New Orleans" label en verso, 12 in. x 16 in., framed. $500/800

384. William Anzalone (American/Texas, b. 1935), "Frozen Day", 1993, oil on canvas, signed lower left, signed, titled and dated en verso, 30 in. x 40 in., framed. $1000/1500



385. Charles Whitfield Richards (American/New Orleans, 1906‑1992), "Morning Call, French Quarter", oil on canvas, signed lower right, 11 in. x 14 in., framed. $500/800



386. Noel Rockmore (American/New Orleans, 1928‑1995), "Sylvester Handy, bassist", 1964, oil on canvas, signed and dated "Mar. 10, '64" upper right, 58 in. x 34 1/8 in., framed. $4000/6000
Note: Coming from a family of musicians, Sylvester Handy was the son of John and Eliza Handy, who played the violin and piano; his siblings also played instruments – his brother John "Captain" experimented with multiple instruments, particularly clarinet and saxophone, his brother Julius played guitar, and his sister Mary studied piano. While all four of the children were born in Pass Christian, Mississippi, John began playing in New Orleans and Baton Rouge in the 1920s with his band "The Shakers," and Sylvester joined him in 1932. Sylvester Handy accompanied his older brother both on live shows and for many recordings. In the work offered here, Sylvester Handy’s notable contribution to the New Orleans music scene is recognized by his inclusion in the Preservation Hall Portrait series by Noel Rockmore. Commissioned by Larry Borenstein, the series was composed of paintings of the full band playing at Preservation Hall and also selected portraits of single musicians chosen for focused sessions. The composition depicts not only the likeness of Handy, but also captures the bond between the man and his craft. The instrument and figure are a single visual element, with a presence and dynamic quality indicative of jazz. Ref.: Borenstein, Larry and Bill Russell. Preservation Hall Portraits. Baton Rouge: Louisiana State University Press, 1968; Feather, Leonard and Ira Gitler. The Biographical Encyclopedia of Jazz. Oxford: Oxford University Press, 1999.



387. Noel Rockmore (American/New Orleans, 1928‑1995), "Nathan 'Jim' Robinson, Trombone Player (1892‑1975)", 1970, oil on masonite, signed and dated lower right, titled en verso, 14 1/2 in. x 12 in., framed. $2500/3500

388. Mark T. Smith (American/Florida, b. 1968), "New Orleans Elephant", 2009, graphite on paper, signed, monogrammed "M", titled and dated lower left, 22 1/2 in. x 30 1/4 in., unframed; accompanied by book Mark T. Smith, 2006. $1000/1500
Note: Working from New York and Miami, Mark T. Smith has become widely known for his colorful, complex paintings and passion for incorporating art into everyday life. He begins all of his art with observational drawing, following in the tradition of the great masters and keeping his work grounded through a high level of draftsmanship. The work offered here, "Elephant" shows his dedication to the classical skill of drawing and its importance in the artistic development of form, creating vivacity and movement through careful placement of shapes and lines.
Ref.: "About". www.marktsmith.com. Accessed July 13, 2017.



389. Paulette Tokar Whiteman (American/Louisiana, b. 1950), "Anticipation and Reflection", 1983, acrylic and collage on canvas, signed, titled and dated en verso, 36 1/2 in. x 32 1/2 in., framed. $1500/2500
Provenance: Koch Collection, Metairie, LA. Note: Paulette Tokar Whiteman’s work as an abstract artist in New Orleans over the past three decades has placed her within a select group of women artists in Louisiana working in a similar stylistic language, such as Ida Kohlmeyer, Nicole Charbonnet, Hasmig Vartanian and Allison Stewart. Educated in Europe, Canada, Asia, and the United States, Whiteman received a B.A. and an M.F.A. from the University of New Orleans. She has a long history in the city of creating studio work and teaching art at the primary through college level, influencing the next generation of artists through her distinct approach to color, line and texture, as seen in the vivid work offered here.



390. Paulette Tokar Whiteman (American/Louisiana, b. 1950), "My House", "A Lick", and "724", 1992, 3 acrylic, collage and mixed media on paper, each signed, titled and dated lower margin, sights 7 1/4 in. x 7 1/4 in. to 9 1/2 in. x 7 1/2 in., framed alike. (3 pcs.) $800/1200
Provenance: Sylvia Schmidt Gallery, New Orleans, 1993; Koch Collection, Metairie, LA.

391 Jim Bird (British/American, 1937‑2010), "Iberian Stone II", 1990, acrylic on canvas, signed, titled and dated "90/May" en verso, 60 in. x 24 in., period frame. $700/1000
Provenance: Galerie Simonne Stern, New Orleans, 1993; Koch Collection, Metairie, LA.



392. American School, 20th c., "Abstract Pink House" and "Abstract Garden Gate", 2 oils on canvas board, each signed "Freiler" lower right, each 19 in. x 20 in., framed. (2 pcs.) $1000/1500
Provenance: Collection of Judy and the late Morris (1939‑2017) Massey, New Orleans.



393. Barbara McKee (American/Montana, 1952‑2002), "Along the Madison by the Palisades" and "Cottonwood Concerto", 1997, 2 oils on masonite, each signed lower right, and signed, dated and titled en verso, each 4 in. x 12 in., framed. (2 pcs.) $600/800

394. Thor Carlson (American/New Orleans, 20th c.), "Red Tower", painted cast metal, unsigned, h. 82 in., w. 11 1/2 in., d. 12 1/2 in., stacked painted concrete base, overall h. 94 in. $1000/1500

395. Thor Carlson (American/New Orleans, 20th c.), "Abstract Form", painted cast metal, unsigned, h. 67 in., w. 23 in., d. 24 1/2 in. $1000/1500



396. Rookwood Pottery Vellum Glaze Landscape Vase, 1920, decorated with trees in a landscape by Ed Diers, impressed date and artist marks, h. 10 5/8 in., dia. 5 in. Note: Drilled base. $700/1000



397. Rookwood "Limoges" Glazed Pottery Pillow Vase, 1882, impressed "Rookwood / 1882‑98", incised decorator's cipher "MR" for Martin Rettig followed by "II", each side decorated with bamboo and a swallow or a duck in flight, h. 4 1/4 in., w. 4 in. $300/500

398. Pair of Aesthetic Cast Iron Andirons, c. 1880, illegible patent date, h. 15 1/4 in., w. 9 in., d. 17 in. $300/500

399. Antique Spanish Wrought Iron Andirons, 19th c., scroll and foliate design, with cross bar, h. 28 1/4 in., w. 16 1/2 in., d. 28 1/2 in., cross piece l. 43 in. $300/500

400. Edwardian Oak Silver Chest, c. 1905, hinged lid with elaborate bronze mount, bale handles, baize‑lined interior with removable trays, h. 22 in., w. 22 1/2 in., d. 20 1/2 in. $400/600

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