Information below is the lot/description information from our Spring Estates Auction, April 16, 17 & 18, 2021. 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.

601. After Daniel Hernández Morillo (Peruvian, 1856‑1932), "Interior Parlor Scene", c. 1902, chromolithograph on paper mounted to board, signed and illegibly dated in plate, published by Fisher, Adler & Schwartz, New York, printed by Bleuchinger & Leykauf, Austria, 28 3/8 in. x 27 1/4 in., framed. [$300/500]

602. Pablo Picasso (Spanish, 1881‑1973), "Famille de saltimbanques (Bloch, 163)", 1933/1939, etching, pencil‑signed lower margin, signed and dated in plate, "Vollard" watermark, printed by Lacourière, Paris, sheet 13 1/4 in. x 17 3/4 in., unframed. [$2000/3000]

603. Pablo Picasso (Spanish, 1881‑1973), "Taureau et chevaux dans l'arène (Bloch, 203)", 1933/1939, etching, pencil‑signed lower margin, signed and dated in plate, "Picasso" watermark, printed by Lacourière, Paris, sheet 13 1/4 in. x 17 3/8 in., unframed. [$2000/3000]

604. Pablo Picasso (Spanish, 1881‑1973), "Le repos du sculpteur devant le jeune cavalier (Bloch 164)", 1933/1939, etching, pencil‑signed lower margin, signed and dated in plate, "Picasso" watermark, printed by Lacourière, Paris, sheet 13 3/8 in. x 17 3/8 in., unframed. [$2000/3000]

605. Frank Relle (American/New Orleans, b. 1976), "Dupre", negative creation date 2011, print date 2018, c‑print, from Nightscapes series, signed, titled and dated lower margin, pencil‑signed, titled, dated and numbered "1/16"en verso, artist label with title, date and edition number on backing paper, sheet 24 in. x 30 in.; "Leonides", negative creation date 2011, print date 2017, c‑print, from Nightscapes series, signed, titled and dated lower margin, pencil‑signed, titled, dated and numbered "1/4"en verso , artist label with title, date and edition number on backing paper, sheet 30 in. x 24 in.; AND "Tirrit", negative creation date 2016, print date 2018, c‑print, from Until the Water series, signed, titled and dated lower margin, pencil‑signed, titled, dated and numbered "1/12"en verso, artist label with title, date and edition number on backing paper, sheet 24 in. x 32 1/2 in., framed alike. (3 pcs.) [$1200/1800]

606. Lisa Conrad (American/New Orleans, 20th c.), "Heron IV", 2017, color print, signed, dated and numbered "1/160" on backing paper, sight 33 1/2 in. x 33 1/2 in., framed. [$2000/3000]

607. Lisa Conrad (American/New Orleans, 20th c.), "Notre Dame II", 2004, sepia print, pencil‑signed on mat, signed, dated and numbered "2/50" on backing paper, 16 in. x 24 1/2 in., framed. [$1200/1800]

608. Josephine Sacabo (American/Texas, b. 1944), "El Cementerio", 1997, silver gelatin print on document art paper, pencil‑signed, titled and numbered "1/25" en verso, from El Mundo Inalcanzable de Susana San Juan series, sheet 24 in. x 19 3/4 in., framed. [$1000/1500]

609. Steven Forster (American/New Orleans, b. 1957), "Angels in America, Louisiana I", gelatin silver print, signed lower margin, "WYES‑TV12 Showboat Auction" label with artist and printed label with artist and title on backing paper, 16 in. x 20 in., framed. [$300/500]

610. Theodore "Fonville"Winans (American/Louisiana, 1911‑1992), "Home of the Washwoman ‑ Grand Isle (The Hermittess) [Sic]", 1933, silver gelatin print mounted to board, pencil‑signed, titled and dated on mount, pencil‑inscribed on reverse of mount, 7 5/8 in. x 9 5/8 in., framed. [$800/1200]

611. Theodore "Fonville" Winans (American/Louisiana, 1911‑1992), "Making a Living", 1934, silver gelatin print mounted to board, pencil‑signed, titled and dated on mount, 7 3/4 in. x 9 3/4 in., framed. [$600/800]
Ill.: Vetter, Cyril E. Fonville Winan's Louisiana: Politics, People and Places. Baton Rouge: Louisiana State University Press, 1995, p. 83

612. Theodore "Fonville" Winans (American/Louisiana, 1911‑1992), "Tony Kristicevich", 1938, silver gelatin print mounted to board, pencil‑signed, titled and dated on mount, 9 5/8 in. x 7 5/8 in., framed. [$600/800]
Ill.: Vetter, Cyril E. Fonville Winans' Louisiana: Politics, People and Places. Baton Rouge: Louisiana State University Press, 1995, p. 104

613. Contemporary Metal Six‑Light Chandelier, Luis Colmenares, New Orleans, h. 32 in., dia. 33 in. [$500/700]

614. Contemporary Metal and Glass Two‑Light Fixture, Andy Brott, New Orleans, copper plated steel, hexagonal shades, with yellow, orange and brown glass discs, h. 26 in., w. 34 in., d. 17 in. [$500/700]

615. Pair of American Copper Lanterns, with three‑light fixture, h. 33 in., w. 19 in., d. 13 in. [$700/1000]

616. Empire‑Style Bronze and Tole Peinte Eight‑Light Chandelier, 20th c., h. 28 1/2 in., w. 31 in., d. 16 in. [$350/450]
Provenance: Estates of Joyce and Donald Laidlaw, Bluffton, SC

617. Monumental Continental Patinated Bronze Lantern Cage, hexagonal body with pinecone finials, floral cartouches, and acanthus scrolls, h. 52 1/2 in., w. 30 in., d. 30 in.; together with brass 4‑light chandelier (for insert), h. 13 1/4 in., w. 14 in. Note: Glass panels lacking from lantern. [$1000/1500]

618. Pair of Contemporary Crystal Lamps, with rectangular shades, h. 29 in., w. 18 in., d. 9 3/4 in. [$300/500]

619. American Brass Sinumbra Lamp, 19th c., columnar form, stepped marble base, floral cut shade, faceted prisms, electrified, h. 28 in., dia. 13 in. [$600/900]

620. American Brass Sinumbra Lamp, 19th c., fluted column, marble base, floral cut shade, faceted prisms, electrified, h. 29 in., dia. 12 in. [$600/900]

621. American Gilt Bronze Solar Lamp, 19th c., faceted baluster support, stepped marble base, arched window and floral cut shade, snowflake prisms, electrified, h. 23 in., dia. 7 in. [$300/500]

622. American Bronze Solar Lamp, c. 1850, Cornelius & Co., Phil., tripartite base cast with urns and foliage, foliate cut shade, prisms, not electrified, h. 21 in., dia. 9 1/4 in. [$300/500]

623. American Brass Solar Lamp, c. 1850, Cornelius & Co., fluted standard, vintage cut shade, prisms, h. 14 1/2 in., dia. 8 1/2 in. [$300/500]

624. Set of Eight Ruppert Kohlmaier Sr. Mahogany Dining Chairs, benchmade, c. 1945, New Orleans, incl. 6 Klismos‑form side chairs and 2 gondola chairs, parrot green upholstery with nailhead trim, saber legs, end chairs h. 35 1/4 in., w. 21 in., d. 24 1/2 in., sides h. 34 in., w. 19 1/2 in., d. 20 in. [$1500/2500]

625. Ruppert Kohlmaier Sr. Mahogany Two Pedestal Dining Table in the Regency Taste, benchmade, c. 1945, New Orleans, one leaf, reeded top, reverse tapered ring‑turned baluster standards, reeded saber legs, brass caps, casters, h. 29 1/2 in., w. (open) 91 3/4 in., w. (closed) 69 1/4 in., d. 46 1/4 in. [$1500/2500]

626. American Chippendale Carved Mahogany and Cherrywood Oxbow Slant Front Desk, mid‑to‑late 18th c., coastal Essex County, MA, fall‑front lid with well‑fitted interior, graduated drawers, cabriole legs, ball and claw feet, pine secondary wood, h. 45 in., w. 45 in., d. 24 in. [$1500/2500]
Provenance: Didier Inc., New Orleans, 1977

627. American Classical Carved Mahogany Center Table, early 19th c., Boston, circular tilt top with bookmatched veneers, reverse tapered standard, incurvate triangular base, lobed feet, casters, h. 29 1/4 in., dia. 35 in. [$1500/2500]

628. American Classical Mahogany Library Armchair, mid‑19th c., attr. to Joseph Meeks, New York, scrolled back, padded arms, bead molded seat rail, S‑scrolled legs, casters, yellow upholstery with Greek key trim, h. 38 1/4 in., w. 25 in., d. 32 in. [$600/900]

629. American Rosewood Drop‑Leaf Library Table. mid‑19th c., probably Meeks, New York, two drawers, trestle base, reverse tapered rope twist legs, ring‑turned rope twist stretcher, h. 29 in., w. (closed) 34 in., d. 24 1/4 in. [$700/900]
Provenance: M.S. Rau, New Orleans.

630. American Federal Mahogany Two‑Part Dining Table, early 19th c., Baltimore, D form ends with conforming skirt and drop leaves, ring‑turned reeded legs, brass casters, h. 29 1/8 in., w. (open) 90 1/2 in., d. 48 in. [$1000/1500]

631. American Federal Inlaid Mahogany Chest, early 19th c., possibly Michael Allison, New York, one deep drawer over three graduated drawers, shaped spurred apron, French feet, h. 44 in., w. 45 in., d. 22 1/4 in. [$1200/1800]

632. American Classical Mahogany Mirror, mid‑19th c., gilt surround and liner, h. 34 3/4 in., w. 28 1/4 in. [$250/350]

633. American Classical Carved Mahogany Breakfast Table, early‑to‑mid 19th c., likely New York, shaped drop‑leaf top, frieze drawer, four pineapple carved supports, stretcher shelf, acanthus carved hairy paw feet, casters, h. 30 in., w. (closed) 23 in., w. (open) 52 in., d. 39 in. [$500/700]

634. American Classical Carved Mahogany Games Table, William Fisk (1770‑1844), early 19th c., Boston, stenciled "Wm. Fisk Cabinetmaker Washington St. Boson", foldover swivel top, paneled frieze, reverse tapered standard, incurvate plinth, foliate scroll feet, casters, h. 28 1/2 in., w. 36 in., d. 18 in. [$1000/1500]

635. Late Classical Carved Mahogany Extension Dining Table, 19th c., circular top, columnar support with verd antique and gilt incurvate base, h. 30 in., w. (closed) 48 in., w. (open) 84 in., d. 44 in. [$1000/1500]
Provenance: Collection of Noted Preservationist and Aesthete Dorian M. Bennett, New Orleans.

636. Pair of Italian Carved Giltwood Prickets, 19th c., now mounted as lamps, triangular form, gilt on one side, h. (to socket) 30 in. [$200/300]

637. Bronze Figure of an Alligator, descending a rock formation, marble base, h. 4 in., w. 12 in., d. 8 in. [$800/1200]

638. Pair of French Tole Peinte Wall Pockets, 19th c., green and gilt decoration, h. 12 in., w. 9 3/4 in., d. 6 in. [$600/900]

639. Pair of Fine Italian Grand Tour Specimen Marble Columns, 19th c., shaft with entasis, tall molded base, h. 19 in., w. 4 3/4 in., d. 4 3/4 in. [$1800/2500]

640. Attic Black‑Figured Olpe, c. late 6th c. BCE, decorated with bearded warrior on horseback wearing Thracian mantle, carrying pelta shield over his shoulder, his dog underfoot, grape vines and clusters in the field, white and red details, ivy band above, h. 8 7/8 in. [$6000/8000]
Provenance: Hesperia Art, Philadelphia, 1960s; Christie's, New York, "Antiquities" Dec. 10, 2004, lot 459; Demetrius S. Spanos, MD Collection, Jonesboro, AR..

641. Grand Tour Carved Serpentine Inkwell, 19th c., with two inkpots, lid mounted with seven portrait medallions, h. 3 3/4 in., dia. 6 in. [$1500/2500]

642. Continental Grand Tour‑Style Gilt Bronze Warwick Vase, 20th c., drilled for electricity, with socket in basin, h. 9 3/4 in., w. 14 1/2 in., d. 10 1/2 in. [$800/1200]

643. Decorative Porcelain and Bronze Surtout de Table, pierced oval gallery, gilt and handpainted reserves, h. 4 in., w. 35 1/2 in., d. 21 in. [$1000/1500]

644. Pair of German Gilt and Cobalt Porcelain Covered Urns, 20th c., marked "Rudolstadt", peacock feather decoration, h. 13 3/4 in., dia. 5 3/4 in. [$200/400]
Provenance: Schwitz Collection, Franklin, LA.

645. Pair of English Bronze Dore Candlesticks, tripartite lion form base, h. 13 in., dia. 5 1/2 in. [$500/800]

646. Pair of Antique English Decoupage Panels, 19th c., bird chromolithographs applied to gold leaf paper, sight 15 1/2 in. x 8 1/2 in., Aesthetic Movement carved frames, 24 1/2 in. x 11 1/2 in. [$300/500]

647. English Brass‑Mounted Ink Stand, 19th c., shaped base with pen tray, faceted crystal ink pot with hinged lid, h. 5 1/2 in., w. 13 1/2 in., d. 9 in. [$200/300]
Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR..

648. Neoclassical‑Style Patinated Bronze Athenienne, 20th c., ram's head terms, hoof feet, base with scroll feet, basin with associated marble top, h. 49 1/2 in., w. 33 in., d. 23 in. [$1000/1500]
Provenance: Demetrius S. Spanos, MD Collection, Jonesboro, AR..

649. Antique English Carved Bulldog Inkwell and Match Strike, c. 1900, hinged head, enclosing inkpot, with bulldog match holder (lacking lid), both with glass eyes, largest h. 4 5/8 in., w. 3 1/2 in., d. 4 1/2 in. [$400/500]

650. Pair of English Tole Peinte Tea Canisters, decorated with Chinoiserie genre scenes, now mounted as lamps, h. (to socket) 23in., w. 10 in., d. 8 in. [$1200/1800]

651. Late Georgian Bilston‑Battersea Enamel Box Commemorating the Battle of Trafalgar, early 19th c., lid interior with portrait of Admiral Horatio Nelson, h.1 3/4 in., w. 3 3/8 in., d. 2 1/2 in. [$400/600]

652. Four Antique English Brass Baluster‑Form Candlesticks, h. 8 3/8 in. [$150/250]

653. Antique Tole Peinte Vase, 19th c., decorated with bird on flowering branch, h. 12 1/2 in., mounted as a lamp, h. (incl. finial) 29 in. [$200/300]

654. Karl Wolfe (American/Mississippi, 1904‑1984), "Mountain Valley", gouache on board, pencil‑signed lower left, 9 1/4 in. x 13 in., framed. [$500/800]

655. Patricia Cannella Pilié (American/Louisiana, 1948‑2007), "Spools and Fabric", watercolor on paper, pencil‑signed lower right, 22 1/2 in. x 30 in., framed. [$800/1200]

656. Andrew Bucci (American/Mississippi, 1922‑2014), "Untitled (Dancing Figure)", 1967, oil on paper, pencil‑signed lower right, dated en verso, 22 1/2 in. x 17 1/2 in., framed. [$1000/1500]

657. Walter Inglis Anderson (American/Mississippi, 1903‑1965), "New Orleans", c. 1943, watercolor and graphite on paper, estate stamp upper left, blind stamp upper right, unsigned, 25 in. x 19 in., framed. [$20000/30000]
Note: For Walter Anderson, art was a way to understand and interact with the world around him. Space, form, color and shape were the tools used by the artist to realize a connection to nature, or in some cases, the man-made world. In 1941, Agnes Anderson arranged for her husband and children to relocate to her father’s home, Oldfields, in Gautier, Mississippi. While at Oldfields, Anderson was particularly productive, creating thousands of prints and original works. Moving away from strict realism, he developed his key concept of "realization," the idea that nature possesses an underlying order which the artist must reveal. Anderson produced linoleum block prints larger than any ever made in the United States. He also completed thousands of pen-and-ink drawings and watercolors. Forbidden by his father-in-law from painting directly on the interior plaster, Anderson created large mural sheets, including some New Orleans street scenes, and tacked them onto the walls at Oldfields.
Around 1943, Anderson traveled to New Orleans by bicycle, reaching the city around dawn. He purchased a packing crate (having been unable to locate a camp stool) and sat and sketched on Canal Street and several other locations throughout the city. He drew the crowds, architecture and cars, later pronouncing it all very "stimulating." Anderson sought to create a sense of a fully articulated three-dimensional world in his two-dimensional works, and he succeeded beautifully in his rare series of New Orleans watercolors. In the work offered here, three women and a man stride along a sidewalk, while several cars motor alongside them. In addition to using color for great effect, juxtaposing and mixing primary and secondary colors, the watercolor displays Anderson’s unique use of perspective and negative space to convey the movement of the city scene – a rarity in an oeuvre devoted almost entirely to the natural world.
Ref.: Maurer, Christopher. Fortune’s Favorite Child: The Uneasy Life of Walter Anderson. Jackson: University Press of Mississippi, 2003; Pinson, Patricia, ed. The Art of Walter Anderson. Jackson: University Press of Mississippi and The Walter Anderson Museum of Art, 2003

658. Walter Inglis Anderson (American/Mississippi, 1903‑1965), "2 Parrots", graphite and watercolor on paper, estate stamp lower right, inscribed with title en verso, 10 15/16 in. x 8 7/16 in., framed. [$10000/15000]

659. Walter Inglis Anderson (American/Mississippi, 1903‑1965), "Biloxi Beach Scene", linocut, unsigned, 19 1/4 in. x 37 7/16 in., framed. [$3000/5000]
Ill.: Pickard, Mary Anderson and Patricia Pinson, eds. Form and Fantasy: The Block Prints of Walter Anderson. Jackson: University Press of Mississippi, 2007, p. 83

660. Marie Atkinson Hull (American/Mississippi, 1890‑1980), "Study for 'The Diners: Blackbirds Eating Watermelon' and "Winter Landscape", double‑sided watercolor on paper, signed twice lower right on "Winter Landscape", 22 1/4 in. x 19 1/2 in., framed. [$3000/5000]

661. William Dunlap (American/Mississippi, b. 1944), "Dog Trot ‑ Down Wind ‑ Working Drawing B", mixed media on paper, signed lower right, titled lower left, 30 in. x 43 7/8 in., framed. [$3000/5000]

662. Edward Emerson Simmons (American, 1852‑1931), "Hattiesburg, Miss", 1920, oil on canvas board, signed and dated lower left, signed, titled and dated en verso, inscribed on backing board, 12 in. x 16 in., framed. [$3000/5000]
Note: Edward Emerson Simmons was born in Concord, Massachusetts, and was distantly related to prominent writer Ralph Waldo Emerson. After winning an award at the Académie Julian in Paris in 1881, he lived in Concarneau, working in the style of the Impressionists and winning an honorable mention at the Paris Salon of 1882. Simmons returned to America in 1891 to complete a commission for a pair of stained-glass windows for Harvard’s Memorial Hall. He then decided to devote himself to mural painting, preferring the public aspect of it over easel painting for its greater exposure, impact and permanence. Over the next two decades, he received commissions for projects in important new buildings across the United States. In 1898, Simmons joined The Ten American Painters on invitation from his friend and fellow member, Childe Hassam. Like other members of the group, Simmons painted in an Impressionist style often plein-air landscapes, urban views and interior genre scenes. However, he exhibited only rarely with The Ten, preferring to paint murals. As a result, his paintings, many depicting his frequent travels throughout Europe and the United States, are rare discoveries today. The late riverscape offered here of Hattiesburg, Mississippi bears the hallmarks of a mature and skilled Impressionist with its visible brushstrokes, reflection of sunlight on the water and perfectly captured feeling of humid southern air.

663. William Steene (American/Mississippi, 1887‑1965), "Old Fort Bayou, MS", oil on masonite, signed lower right, 18 in. x 24 in., framed. [$1200/1800]
Note: Nationally known portraitist of over four hundred prominent Americans and muralist, William Steene likely first visited the Mississippi Gulf Coast in April of 1931, when he was a guest at the Buena Vista Hotel in Biloxi. He completed portraits of several Mississippi notables and was drawn to the southern landscape. From 1950 until his death in 1965, Steene maintained a home and studio in Gulf Hills, Mississippi, just north of Ocean Springs. From this studio, Steene created one of his most well-known works – a mural depicting the 1953 Louisiana Sesquicentennial Celebration of the 1803 Louisiana Purchase. The fifty-foot-long and ten-foot-high triptych mural took a year to complete and was unveiled by President Eisenhower at the Presbytère of the Louisiana State Museum in New Orleans. Steene reputedly painted the 1948 serene landscape offered here on site at Old Fort Bayou, a picturesque waterway near his future Mississippi home and studio. With the radiant sunlight breaking through the clouds, Steene creates an idyllic picture highlighting the natural beauty of the Gulf Coast.

664. William Steene (American/Mississippi, 1887‑1965), "Still Life of Camellias", oil on masonite, signed lower left, 20 in. x 16 in., framed. [$600/800]

665. Clementine Hunter (American/Louisiana, 1886‑1988), "Wedding", oil on board, monogrammed mid‑right, 12 in. x 16 in., framed. [$2500/3500]

666. Clementine Hunter (American/Louisiana, 1886‑1988), "Farm Houses", oil on wood cutting board, monogrammed lower right, inscribed en verso, 29 in. x 10 3/4 in., unframed. [$1800/2500]

667. Clementine Hunter (American/Louisiana, 1886‑1988), "African House", oil on canvas board, monogrammed mid‑right, inscribed and partial sketch en verso, 13 7/8 in. x 18 in., unframed. [$3000/5000]

668. Rhoda Brady Stokes (American/Mississippi, 1902‑1988), "Landscape with Farmhouse and Field of Corn", 1962, oil on masonite, signed and dated lower right, 26 in. x 14 in., framed. [$1200/1800]

669. Rhoda Brady Stokes (American/Mississippi, 1902‑1988), "The Mill", oil on canvas board, signed lower right, 12 in. x 9 in., framed. [$400/600]

670. William Hemmerling (American/Louisiana, 1943‑2009), "Figs Tree by the Back Porch Steps Sweet Olive", 2004, mixed media on panel, signed lower left, signed, dated and inscribed en verso, 66 1/4 in. x 18 in., unframed. [$8000/12000]

671. James Michalopoulos (American/New Orleans, b. 1951), "Right Thumper", 1993, oil on canvas, signed "Mitchell" lower left, signed and dated en verso, titled on stretcher, 28 in. x 22 in., framed. [$4000/6000]

672. George Rodrigue (American/Louisiana, 1944‑2013), "Untitled (Accordion and Fiddle Players)", oil on canvas, signed lower left, inscribed on stretcher, 24 in. x 18 in., framed. [$15000/25000]
Provenance: Acquired directly from the artist; thence by descent.

673. George Rodrigue (American/Louisiana, 1944‑2013), "Study for Portrait of Beverly Friedman", acrylic on canvas, signed lower left, 14 in. x 11 in., framed. [$3000/5000]
Provenance: Acquired directly from the artist; thence by descent.
Note: The work offered here is an outstanding exemplar of George Rodrigue’s ability to capture his subject at its most fundamental through a classical use of line and simple detail. Completed as a study for a later full color portrait of Beverly Friedman of New York, Rodrigue creates a graphic and timeless statement in stark black and white that harkens to his characters of historical Acadiana and Evangeline imagery. Friedman, wife of longtime television producer and executive Steve Friedman, visited Louisiana with her husband on several occasions, including while filming a segment in 1988 on Cajun Mardi Gras to air on NBC Nightly News, and the couple became good friends with the artist.

674. George Rodrigue (American/Louisiana, 1944‑2013), "Blue Dog with Tie", c. 2009, acrylic and mixed media on chrome paper mounted on board, signed lower right, sight 74 in. x 50 in., framed with plexiglass. [$50000/70000]
Provenance: West Jefferson Medical Center, Marrero, LA.
Note: The monumental Blue Dog by George Rodrigue offered here was part of his Art for Healing program, which involved the installation of reflective large scale mixed media works at public institutions, particularly children’s hospitals. The program was inspired in part by Rodrigue’s own battle with polio as a child: "My most vivid childhood memory is of rows of kids in iron lungs in hospital wards. I was lucky to fully recover from polio, but I still have that image in my mind. I want children in today’s hospitals to remember something happy." Created on chrome paper mounted on four boards, Rodrigue designed the works so that patients and visitors alike could see their reflections alongside the Blue Dog and amidst the colorful swirls, stars and flourishes. As Wendy Rodrigue said in regard to the program at the time: "George hopes the young patients take away something positive from an otherwise traumatic experience, even if it’s just a memory of bright colors and a piece of art that reflects not only their own image, but also the joy with which it was created." From 2008 to 2013, Rodrigue installed works in nine hospitals located in Tennessee, Texas and Louisiana.
Ref.: Rodrigue, Wendy. "Shiny Happy Blue Dog." Life & Legacy Foundation & Tour. June 20, 2013. www.legacyarttour.org. Accessed Mar. 2, 2021. Rodrigue, Wendy. "Blue Dog: Mixed Media." Life & Legacy Foundation & Tour. July 27, 2010. www.legacyarttour.org. Accessed Mar. 2, 2021

675. Ashley Longshore (American/New Orleans, b. 1975), "Like a Virgin (Kate Moss)", mixed media on gallery‑wrapped canvas, signed on right edge, 60 in. x 48 in., unframed. [$10000/15000]

676. Ashley Longshore (American/New Orleans, b. 1975), "Mama's Little Baby (Renaissance Series)", c. 2013, oil on gallery‑wrapped canvas, signed lower right, 48 in. x 48 in., unframed. [$6000/8000]

677. Adrian Fulton (American/New Orleans, 20th c.), "Obama", mixed media on canvas, signed lower right, signed and inscribed en verso, 35 3/4 in. x 24 in., unframed. [$1000/1500]

678. Blake Boyd (American/New Orleans, b. 1970), "Laser Pussy (Diptych)", watercolor and ink on paper, pencil‑signed lower right on right sheet, each sheet 13 1/2 in. x 10 in., overall 13 1/2 in. x 20 in., unframed. [$1500/2500]
Provenance: Gift of the artist.

679. Nene Humphrey (American, b. 1947), "Loculus #2", 2000, silk, needles, thread and felt, signed, titled and dated on reverse, h. 57 3/4 in., w. 32 1/2 in., d. 1 3/4 in.; together with wall mount. [$1000/1500]
Note: Nene Humphrey is a New York-based sculptor and installation artist who has exhibited in numerous museums and galleries nationwide. She has received awards from the National Endowment for the Arts, The Rockefeller Foundation, Brown Foundation, and Anonymous was a Woman among others. Humphrey’s work focuses on sensory experiences of the world, human psychology and handcraft. Her Loculus series, an example of which is offered here, was created between 1999 and 2001, continuing the artist’s interest in meditative repetition. The Loculus works involve masses of hand-stitched red discs, affixed to the wall and standing or hanging structures by trails of thread. As Ariella Budick noted in Newsday Magazine in 2000, the works had a biological appearance "like an enlargement of clustered cells. (The title refers to the cavities in a plant ovary.)" Works from Humphrey's Loculus series were shown at Kiang Gallery in Atlanta, Dorsky Gallery in New York, the Islip Art Museum in Islip, NY, and they were included in Site and Insight at MoMA PS1 in 2003.
Ref.: Budick, Ariella. "Woman to Woman." Newsday Magazine. Apr. 23, 2000

680. Benny Andrews (American, 1930‑2006), "Phyliss and the Church"and "Dreamers", 1976, 2 etchings, each pencil‑signed, titled, dated and numbered "33/47"and "36/50"respectively lower margin, each 20 3/4 in. x 13 3/4 in., unframed. (2 pcs.) [$1000/1500]

681. Benny Andrews (American, 1930‑2006), "Moving On" and "Turtle Dove", 1980, 2 lithographs, each pencil‑signed and dated lower right, titled lower center and numbered "273/275" and "214/275" respectively lower left, "BFK Rives" watermark visible on both, "Moving On" inscribed en verso, each 30 in. x 22 1/4 in., unframed. (2 pcs.) [$500/800]

682. Alice Neel (American, 1900‑1984), "Portrait of Judith Solodkin", 1978, lithograph, pencil‑signed, dated and inscribed "S.P.l" lower left, 30 3/8 in. x 22 1/2 in., framed. [$700/1000]

683. Rex Elson Brandt (American/California, 1914‑2000), "Sunday in May", 1961, watercolor on Whatman drawing board, signed, titled and dated lower right, 22 in. x 28 in., unframed. [$2500/3500]
Note: Rex Brandt’s work captures the color and carefree nature of the beach and all of its activities – "more as reactions to the happenings around him in his life than representations of real things." A native Californian, Brandt was among the artists who stood at the forefront of bringing national attention to the California art scene in the 1930s and 1940s. In 1937, Brandt and Lawson Cooper organized "The California Group,"a traveling watercolor exhibition that developed interest in the California style of watercolor. In 1939, he was selected as one of the premier California watercolorists to exhibit in the New York World's Fair art exhibition, American Art Today, just one among many honors that would continue throughout his long career. During the next three decades, Brandt refined his skill and developed the complex and semi-abstract style of painting that would bring him international recognition and is on display in the vibrant lot offered here. In 1947, he and Phil Dike opened a summer school of painting in Corona del Mar, California, and as an educator, Brandt influenced countless numbers of students.

684. George Zafero (American, 20th c.), "St. George R‑BLK‑W‑4", 1986, oil on canvas, signed, titled and dated lower right, 48 in. x 48 in., framed. [$400/600]

685. Karl Knaths (American, 1891‑1971), "Spirits of the Hondo", oil on paper laid on board, signed lower left, inscribed with artist and title and artist biography en verso, 22 in. x 27 in., framed. [$1500/2500]
Note: Karl Knaths, recognized as a painter with a unique and individual interpretation of Cubism, was born in Wisconsin in 1891. In 1912, Knaths enrolled at the Art Institute of Chicago. As a guard at the Chicago presentation of the Armory Show in 1913, he was first exposed to modernism and began to incorporate aspects of the progressive artists, particularly that of Cézanne, into his work. After a brief stay in New York in 1919, he became a lifelong resident of Provincetown, Massachusetts, where he exhibited landscapes and still life paintings regularly with the Provincetown Art Association. Also influenced by the works and writings of Wassily Kandinsky, Knaths became interested in music and believed that there were correspondences between musical intervals and spatial proportions, a theory that suited his cubist pictorial structure. In the work offered here, Knaths' use of color, line and geometric shapes create a visual cacophony which perfectly represents this distinctive American artist.

686. Max Kuehne (German/American, 1880‑1968), "Portrait of a Young Girl, Possibly the Artist's Daughter", oil on board, signed lower right, 18 1/4 in. x 15 in., framed. [$800/1200]

687. Alfred Thompson Bricher (American, 1837‑1908), "Waves Crashing at the Shore", 1883, oil on canvas, signed and dated lower right, "Harte‑Hanks Communication, Inc. "label with inventory number on frame, 25 in. x 30 1/4 in., framed. [$8000/12000]
Provenance: Estate of Houston H. and Carolyn H. Harte, San Antonio, TX.

688. Hubert Wackermann (German/American, b. 1945), "Assiniboin Winter Camp", 2002, oil on canvas, signed lower right, signed and dated en verso, titled on stretcher, 24 in. x 36 in., framed. [$1000/1500]

689. American School, 19th c., "Mountainous Landscape with Sailboat", oil on canvas, unsigned, 22 in. x 36 in., framed. [$700/1000]

690. American School, 19th c., "Mountainous Landscape", oil on canvas, unsigned, 22 in. x 36 in., framed. [$400/600]

691. American School, 19th c., "Mountainous Landscape at Dusk", oil on canvas, unsigned, 22 in. x 36 in., framed. [$400/600]

692. Jules Eugene Pages (American, 1867‑1946), "Cottage in the Woods", oil on canvas laid on board, signed lower right, inscribed with artist name en verso, partial label on reverse of frame, 9 1/8 in. x 12 in., framed. [$1000/1500]

693. Harry Willson Watrous (American, 1857‑1940), "Still Life of Vases and Silver Duck", oil on canvas, signed lower right, remnant of label on backing board, 21 in. x 16 in., framed. [$1000/1500]

694. N. Henry Bingham (American, b. 1939), "Chemists", oil on panel, signed lower left, 12 in. x 16 in.; together with P. Lemairé (French, 20th c.), "Antiquarians", oil on panel, signed lower right, 12 in. x 16 in., both framed. (2 pcs.) [$800/1200]

695. Colin Campbell Cooper (American, 1856‑1937), "Napoleon's Tomb", oil on board, unsigned, inscribed "Napoleon's Tomb / Colin Campbell Cooper / owned by Walter E. Baum's Wife" and "Frank S. Schwarz & Son, Philadelphia" label with artist and title en verso, sight 25 1/4 in. x 17 1/2 in., framed. [$2500/3500]

696. Pamela Cornell (British, 1928‑1987), "The Nelson Tap Gravesend", 1983, oil on canvas, signed lower right, signed, titled and dated en verso, 22 in. x 30 in., framed; ACCOMPANIED BY a copy of the original receipt. [$500/700]
Provenance: Madden Galleries, London, Aug. 2, 1984; Private Collection.

697. Lorenzo E. Ghiglieri (American, 1931‑2020), "First Jump", 1999, patinated bronze, signed, dated and numbered "25/135" on self‑base, h. 20 in., w. 28 in., d. 9 in., conforming wood base, overall h. 22 in. [$4000/6000]
Provenance: Neal Auction Company, Aug. 2, 2003, lot 401.

698. Spanish Colonial School, 1799, "Santa Olalla Virgen y Martir", oil on canvas laid on masonite, unsigned, titled and dated upper left, sight 31 3/4 in. x 26 3/4 in., framed. [$1500/2500]

699. Spanish Colonial School, mid‑17th/early 19th c., "Santa Maria", oil on canvas, unsigned, 18 1/8 in. x 12 1/2 in., framed. [$700/900]