Neal Summer Sale: A Box of Surprises

June 28th, 2014

Blue dogs have been turning up regularly at auction in the year following the death of Louisiana artist George Rodrigue (1944-2013). The Yellow Robe of Texas, signed and dated 1991 and 20" x 24", ranks with the most appealing. The June sale cover lot—first time a Rodrigue has appeared there at Neal—sold to a Texan, of course, for $40,630 (est. $25,000/35,000).

Following the successful sale of the wine cistern, an extensive Canton famille rose porcelain service with sepia center scenes and colorful borders kept the bidding rolling. The service had sold at a Chinese export porcelain sale at Christie’s in New York City in January 2006 when it brought $9600. With more Asian buyers in the market now, the service sold this time for $21,808.75 (est. $4000/6000) to an Internet bidder.

An ideal engagement present from that vampire lover, a diamond-studded bat pin attracted serious attention during the auction preview. From the collection of Ursula Johns Gill, the bat pin took flight and easily passed its $500/750 estimate to bring $3585.

Son of sculptor Erastus Dow Palmer, Walter Launt Palmer (1854-1932) was born in Albany, New York, studied in Paris, and painted scenery in Venice as well as in his home state. This tranquil watercolor of a Fishing Boat on the Venetian Lagoon, 25" x 19", with the region’s characteristic painted sails, came from the estate of James Fenimore Cooper IV. The type of painting a collector could gaze at forever, the work was a very good buy at $3883.75 (est. $1200/1800).

Peruvian-born Albert Lynch (1851-1912) moved to Paris where he studied at l’Ecole des Beaux Arts and then proceeded to paint portraits of beautiful women of the Belle Époque. This oil painting of an auburn-haired woman with her fashionable hat and Chinese red dress, 29" x 23¾", benefited from strong Internet bidding, selling for $20,910 (est. $8000/12,000).

Painting specialist Rachel Weathers emphasized that Jose-Maria Cundin (b. 1938) is a “beloved artist here in New Orleans. This is one of his great early paintings, and the square format is beautiful.” The Odd Couple, a charming 30" x 34" oil on canvas, 1971, sold to a New Orleans collector for $11,053.75 (est. $5000/7000).

Neal Auction Company, New Orleans, Louisiana

Photos courtesy Neal Auction Company

Forrest Gump may never have said, “Auctions are like a box of chocolates,” but when sales have as much variety as the events at Neal in New Orleans, truly “you never know what you’re gonna get.” Lots that sell within or just above estimate demonstrate the staff’s command of their specialties and the firm’s knowledge of the market. But this reviewer and many collectors present on the auction floor love the surprises—those moments when a lot turns out to be very special and bidding soars. No wonder the audience applauds. Although just a light summer sale before the more serious fall events, the June 28 and 29 auction of over 1100 lots included its share of zingers.

Outstanding among the antique jewelry lots, a pair of mid-19th-century 14k yellow gold, taille d’epargne enamel, and half-pearl flexible slide bracelets sold for $4182.50 (est. $2000/3000). Each circlet ended in a fashionable fringe. Another pair of flexible braided gold bracelets with buckle clasps brought $1220. The attention-getter, however, was a diminutive English gold bat pin, set with diamonds, which carried a modest estimate of only $500/750. But what a perfect ornament for a bejeweled Goth on a French Quarter ghost walk; the final price paid was $3585.

Rachel Weathers of Neal noted, “The pin was a well-made Victorian piece of jewelry and a favorite during preview. There were eight phone bidders and two bidders in the room engaged in fierce bidding. Aside from the appeal of a great Halloween adornment, there were bidders whose nicknames included the word ‘Bat.’” Surprise lots often have just such a “hook” that attracts buyers.

She pointed out that the pin and many other lots of antique jewelry, silver, and decorative arts came from the featured estate of Ursula Johns Gill of San Antonio. Gill had inherited many pieces from her mother, Ella Mary “Dolly” Baldwin Sadler-Brown Johns (1890-1984), who had grown up in late Victorian London and eventually married an American army officer. Dolly eventually became an antiques dealer, and her daughter inherited the passion to collect.

The June sale’s pleasant surprises led off with a couple of soaring Chinese export lots in the opening minutes on Saturday. First up was a blue and white porcelain wine cistern, cataloged as probably 18th century. The ornate rectangular body with lid (24" high) had a spigot at the bottom for dispensing wine and must have been the latest thing at parties. The scenic design was set off with pierced fretwork at top and bottom and a crouching creature on the top.

Asian art specialist Bettine Field Sackey commented after the sale, “The past year Neal Auction Company has seen a resurgence of interest in the Chinese export porcelain market due in part to the emergence of Chinese bidders. In the June auction this past weekend, we offered two quality export lots, both of which well exceeded their presale auction estimates, thanks to Chinese participation. Lot eleven, a Qing Dynasty blue and white wine cistern from the San Antonio estate of Ursula Johns Gill, witnessed attention from Chinese export porcelain collectors as well as from traditional Chinese porcelain collectors. With a presale estimate of $1000/1500, the lot saw intense bidding from six telephone bidders competing against bidders on the salesroom floor. The lot hammered for $11,500 [$13,742.00 with premium].”

She continued, “Lot thirteen also saw widespread attention. The mid-19th-century sepia and gilt-decorated famille rose tea service with a Christie’s 2006 provenance more than quadrupled its presale low estimate of $4000, selling for an $18,250 hammer price [$21,808.75 with premium] to an Internet bidder competing against two telephones and a collector in the room.” The mid-19th-century service included platters, teapot, coffeepot, jugs, cups, and various bowls and plates, all of which were marked with the gilt initial “R” in a circle.

Courtyards and outdoor spaces are in use year round in New Orleans, thanks to the tropical climate, and the best garden antiques invited spirited bidding. Few have the pedigree of the sculptural French Empire fountain with its strong Classical influence and Napoleonic swan that appeared early on Saturday. The catalog listed some interesting comparanda, and Rachel Weathers said, “The fountain is a very early and important example of cast iron, circa 1812-1830. Singular and aesthetic, not many examples of this form were made.” The work’s venerable age and rarity inspired bidders to push the price past its $3000/5000 estimate to $8365.

President Neal Alford has always stressed the important role of regional artworks in the firm’s auctions. The June sale offered both the important paintings that elicit five-figure bids from heavy hitters and a wide selection of contemporary works, including photographs, which sell at more affordable levels. The nature paintings of Walter Inglis Anderson (1903-1965) certainly belong to the former category. Oak Trunk sold for $17,925; the following lot, Brown Dragon Fly, 1960-65, for $16,730 (est. $8000/12,000); and a colorful Azaleas for $8365.

Of the Oak Trunk watercolor, Weathers said, “This is one of his most important works of art in my opinion. It is a rendering ‘from nature’ but also an abstract painting as well. Anderson did not make these watercolors for an art market—they are meditations on nature. I love the way the picture space is filled with all that color. Anderson is also known for repeating geometric forms, but this work is so painterly.”

The Yellow Robe of Texas by George Rodrigue graced the front cover and brought $40,630, doing well as expected. While some blue dogs are scary, this version—draped in yellow—was downright cute. Weathers noted, “George Rodrigue was often playful with his titles, improvising on the old tune “The Yellow Rose of Texas” here. This is the first Rodrigue painting we have had on our catalog cover in our thirty-year history. I like the notion that the Blue Dog had a beach towel on his head for a summer auction.”

The back cover, however, featured an abstract work by Robert Helmer (1922-1990) called The Acid Green Bottom and dated 1963, which was picked up for $1673 (est. $500/800). Other affordable regional artwork came from a group of consignments by New Orleans sculptor/collector Charles Fritchie (b. 1936). Out of this group, the 1972 Arcady #5 by local artist Robert Gordy (1933-1986) was a good buy at $2151 (est. $1800/2400), and in the Sunday session, No Escape, a 1973 acrylic by Ira Upin (b. 1948), brought $3585 (est. $800/1200).

For more information, go to Neal’s Web site (www.nealauction.com) or call (800) 467-5329.

Forget the champagne fountain; party-goers can gather round this decorative Chinese export porcelain wine cistern. Just remove the lid to refill. The rectangular receptacle had handles for carrying and a spigot for dispensing, not unlike an elegant 18th-century prototype of the picnic jug. The rare form—an example in the Peabody Essex Museum was cited—attracted attention from both Chinese porcelain collectors and those focused on the export market. Multiple bidders on the phones and floor took the piece to $13,742.50 (est. $1000/1500).

No sleeper here. As predicted, the top bed of the weekend was a magnificent mahogany full-tester model with carved flourishes, lines of beading, and turreted corners atop the posts. It sold for $11,590. Such beds are usually credited with a New Orleans origin; cabinetmaker and merchant Prudent Mallard’s name often comes up. Certainly these elaborate constructions were made to appeal to a regional taste in sleeping arrangements, and spending the night in one can be a memorable adventure.

The Ida Kohlmeyer (1912-1997) painting in this sale was a Cluster of four patterns in subdued tones of brown and cream. It had been acquired by a New York collector from the David Findlay Gallery in New York City. The dated 1980 oil and mixed media on canvas, 40" x 38", sold for the top estimate at $13,742.50 to a New Orleans collector of the local artist’s work.

The complex watercolor view Oak Trunk was exhibited in Walter Anderson: Realizations of the Islander at the Pennsylvania Academy of the Fine Arts in 1985. Walter Anderson (1903-1965) captured his images of nature on standard 11" x 8½" sheets of paper, but the small format never inhibited his vision; this work, made around 1955-65, sold for $17,925.

The Arts and Crafts pursued by students at Newcomb College included metalwork as well as their celebrated pottery. This brass letterbox, attributed to Alice Leigh Moise, active at the school 1924-29, sold for $2270.50 (est. $800/1200).

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