Neal Auction is pleased to present its third annual Vernacular & Outsider Art Auction on March 14, 2024. This sale unites a wide range of art by Self-Taught, Outsider and Visionary artists from the American South and beyond. These artists transcend genres through vernacular visual expressions uniquely tied to their state of mind, culture, and environment. The items offered in this sale are each part of original bodies of work inspired by the artists’ personal experiences, and yet they also convey universal themes of life with universal appeal. Neal Auction has a long history of record-breaking results for Vernacular and Outsider artists. This auction provides a superb opportunity for collectors to explore this flourishing market.
All lots are available for preview in our New Orleans Magazine Street gallery beginning Wednesday, March 1.
Auction begins at 2:00 PM CST on Thursday, March 14, 2024 on all bidding platforms.
Note: As seen on Antiques Roadshow, episode #2204, New Orleans, LA, July 22, 2017.
1808-1866/69), “Cottages
a
each titled and dated en verso, 16 in. x 12 in. to 20 in. x 16 in., unframed. (3 pcs.) [$300/500]
4. American Folk Art School, early-to-mid-19th c., “Boy with Dog”, oil on panel, unsigned, 18 in. x 14 1/2 in., framed, overall 22 in. x 18 1/2 in. x 2 3/4 in. [$200/300]
5. Earle Merchant (American/Massachusetts, 1903-1997), “Mrs. Geraldine Peters”, 1962, “Tom Frithsen, Age 17”, 1965 and “Kathy Krenn, Age 11”, 1967, 3 oils on canvas board, each signed, each titled, dated and 2 signed en verso, each 16 in. x 12 in., unframed. (3 pcs.) [$300/500]
8. Beatrice “BeA” Haverbusch (American/New York, 1919-1994), “Rowing By Bridge”, oil on canvas board, signed lower left, signed and titled en verso, 16 in. x 20 in., framed, overall 19 in. x 23 in. x 1 1/2 in. [$400/600]
6. Earle Merchant (American/Massachusetts, 1903-1997), “Beth Chick, Age 8”, 1962, “Mrs. Gretchen Truncale”, 1978 and “Kathy Collins”, 1980, one oil on canvas board, one oil on masonite, one oil on board, 2 signed lower right, one signed lower left, one signed en verso,
9. Sybil Gibson (American/Alabama, 1908-1995), “Girl with Blue Basket”, watercolor on paper, signed lower right, sight 19 1/2 in. x 15 1/2 in., framed, overall 28 1/8 in. x 24 1/8 in. x 1 in. [$200/300]
Note: Sybil Gibson was born in Dora, Alabama in 1908 to a wealthy family. She attended Jacksonville State University where she majored in biology and had an unsuccessful attempt at an art class that discouraged her from artmaking for many years. After graduating she became a teacher until she moved to Jasper, Alabama. On Thanksgiving Day in 1963, Gibson decided to make Christmas wrapping paper, which became a turning point in her life. She discovered her love for art through unconventional materials stating: “Good paper turns me off, while something out of a trash pile turns me on.” Gibson was reclusive and modest about her work, having suffered a mental breakdown following the birth of her daughter and dissolution of her marriage. In her later years, she was a recluse, even to the point of skipping her 1971 exhibition at the Miami Museum of Modern Art, because her family was looking for her there. Her subjects are most often women and girls with a soft and gentle application of color that is indicative of her impressive body of work.
Ref.: Hood, John. “More Than a Pretty Face: The Art of Sybil Gibson.” Folk Art Magazine, XXIII, No. 4, (Winter 1998/99); Kemp Kathy and Keith Boyer. Revelations: Alabama’s Visionary Folk Artists Birmingham, AL: Crane Hill Publishers, 1994; Rosenak, Chuck and Jan. Contemporary American Folk Art. New York: Abbeville Press, 1996.
10. Sybil Gibson (American/Alabama, 1908-1995), “Three Girls behind a Fence”, pastel and watercolor on paper, pencil-signed lower right, 20 1/4 in. x 16 1/4 in., framed, overall 28 1/8 in. x 24 1/8 in. x 1 in. [$200/300]
11. Sybil Gibson (American/Alabama, 1908-1995), “Girl in Blue Bonnet”, watercolor and pastel on paper, pencil-signed lower right, 16 in. x 12 3/4 in., framed, overall 18 5/8 in. x 15 3/8 in. x 1 1/4 in. [$200/300]
12. Sybil Gibson (American/Alabama, 1908-1995), “Girl in Blue Dress”, pastel and watercolor on paper, pencil-signed lower right, pencil-signed and inscribed en verso, artist information on backing paper, 13 7/8 in. x 10 1/2 in., framed, overall 19 1/2 in. x 16 in. x 1 in. [$200/300]
13. Sybil Gibson (American/Alabama, 1908-1995), “Abstract Floral (Floral)”, 1993, double-sided watercolor on cardboard, signed and dated on both sides lower right, handwritten label with titles en verso, 33 1/2 in. x 27 in., unframed. [$200/300]
14. Mose Tolliver (American/Alabama, 1920-2006), “Amarilly Lily”, 1982, paint on panel, signed lower center, titled and label with artist, title and date en verso, dia. 16 in., unframed. [$300/500]
Provenance: Gasperi Gallery, New Orleans, LA.
15. Mose Tolliver (American/Alabama, 1920-2006), “Table with Erotic Portraits”, house paint and mixed media on found wood table, signed and each portrait titled “Bob (cat), Anton, Mose L., Sally Ann, Richard, Mose T., Jam Snow Ball, Willie Mae, John Du Ball, Spot (dog)” lower center, h. 14 3/4 in., w. 4 1/8 in., d. 16 in. [$600/800]
Provenance: Gasperi Gallery, New Orleans, LA.
16. Mose Tolliver (American/Alabama, 1920-2006), “Me and Willie Mae”, paint on masonite, signed lower left, 13 3/4 in. x 21 in., unframed. [$400/600]
Provenance: Gasperi Gallery, New Orleans, LA.
17. Mose Tolliver (American/ Alabama, 1920-2006), “French Bird”, 1982, paint on board, signed lower right, label with artist, title and date en verso, 11 5/8 in. x 11 1/8 in., unframed. [$200/300]
Provenance: Gasperi Gallery, New Orleans, LA.
18. Mose Tolliver (American/Alabama, 1920-2006), “Lady on a Water-Skate”, paint on board, signed lower center, titled en verso, 29 1/4 in. x 23 5/16 in., unframed. [$400/600]
Provenance: Gasperi Gallery, New Orleans, LA.
Note: “When I paint fish, it’s about Uncle Bud. When I paint cotton, it’s about my papa, who was a sharecropper in Wilmer. When I paint about the school bus, that’s my mom. I paint about family, and I have a lot of stories to tell about my family.” ~ Ruth Robinson Ruth Robinson grew up in Grand Bay, Alabama, where early in life she discovered a talent for painting. Unfortunately, a house fire in the 1960s destroyed her creations which led to her giving up painting for several decades before her passion was revived in the early 2000s. While initially only a personal and private endeavor, Robinson was encouraged by her mother on her deathbed to start selling her artwork. Since then, Robinson’s paintings have been exhibited throughout the country and can be found in the American Folk Art Gallery in Asheville, the Kentuck Art Center in Northport, Alabama and in other private and public collections.
Ref.: “Meet the Artist: Ruth Robinson.” Kentuck Art Center & Festival. www.kentuck.org. Accessed Feb. 15, 2024; Tomberlin, Michael. “Ruth’s Porch Art is an Alabama Maker of Colorful Creations.” Alabama Newscenter. Oct. 29, 2018. www.alabamanewscenter.com. Accessed Feb. 15, 2024.
Note: Carroll Gautreaux was born in 1952 in Opelousas, LA. Gautreaux showed interest in art in his youth but abandoned it after graduating from high school and entering the workforce. While working as a maintenance man, he learned carpentry on the side then started his own business that he ran for over forty years. After falling ill with lung cancer, his surgeon advised him to stop working so he retired and set his sights on making art. His works are painted on galvanized sheet metal on which he glues cut-out figures, giving them a three-dimensional effect. His Cajun heritage is evident through his work with his paintings depicting dancing, Mardi Gras, and sugarcane among other scenes specific to South Louisiana. The lot on offer here portrays a nighttime barn dance scene, in which the easy-going, friendly energy of the dancers reflects that of the laissez-faire attitude of the Cajun people.
Ref.: Miller, Robin. “Opelousas artist Carroll Gautreaux tells south Louisiana’s stories in three-dimensional metal.” The Advocate. Sept. 10, 2019. www.theadvocate.com. Accessed Feb. 15, 2024.
26. Carroll Lester Gautreaux (American/Louisiana, 1952-2024), “Cajun Tradition”, oil on shaped tin, screen and wire assemblage, signed en verso, 24 in. x 19 1/2 in., framed with title plaque, overall 27 5/8 in. x 22 3/8 in. x 1 1/4 in. [$300/500]
27. France Marie Folse (American/Louisiana, 1906-1985), “Country Road”, oil on canvas board, signed lower right, inscribed en verso, 16 in. x 20 in., framed, overall 19 1/2 in. x 23 1/2 in. x 1 in. [$500/700]
Note: Born in the Bayou Lafourche region of Louisiana in 1906, France Folse found artistic inspiration in the plantation life, burgeoning oil and gas industry and fishermen of her colorful and rapidly changing community. A debilitating illness as a child left her with limited mobility, however, she defied the odds to become the most successful folk artist of the region in the twentieth century. At the age of thirty-two, Folse enrolled in an educational correspondence program in art that included instruction in crayon, drawing and watercolor and began to pursue a career as an artist. She later taught herself how to paint in oils, and William E. Groves, an early and important collector of Louisiana art, recognized Folse’s ability and encouraged her. According to William T. Peltier, Folse completed around 300 works during her career, primarily between 1942 to 1970. In the 1950s, Folse was hired by the Lafourche Parish School Board and given the title of art director of the recreations district. Teaching both children and adults, Folse brought art instruction to many people for the first time in the region.
Ref.: Bacot, Parrott. “France Folse.” 64 Parishes. www.64parishes.org. Accessed Feb. 16, 2024. France M. Folse: Bayou Lafourche Folk Painter Rediscovered, Louisiana State University Museum of Art, Baton Rouge and Southdown Museum, Houma,1997.
30. France Marie Folse (American/ Louisiana, 1906-1985), “Town Scene”, oil on canvas, signed lower right, remnant handwritten label on stretcher, 22 in. x 30 in., framed, overall 27 1/2 in. x 35 1/4 in. x 3 1/2 in. [$500/700]
31. France Marie Folse (American/ Louisiana, 1906-1985), “Abstract Composition”, oil on canvas, signed lower right, 19 in. x 28 in., framed, overall 21 1/2 in. x 30 1/2 in. x 1 in. [$300/500]
34. Clementine Hunter (American/Louisiana, 1886-1988), “Birthday Party”, oil on board, monogrammed mid-right, partial sketch en verso, 18 in. x 24 in., framed, overall 21 in. x 27 in. x 1 1/8 in. [$4000/6000]
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
Provenance: Michael W. Murphy, El Dorado, AR.
32. Clementine Hunter (American/ Louisiana, 1886-1988), “Cotton Picking”, oil on canvas board, monogrammed lower right, partial sketch en verso, 18 in. x 24 in., framed, overall 23 in. x 29 in. x 1 1/2 in. Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead. [$1500/2500]
Provenance: Michael W. Murphy, El Dorado, AR.
33. Clementine Hunter (American/Louisiana, 1886-1988), “Carting Vegetables to the African House”, oil on board, monogrammed lower right, 12 in. x 16 in., framed, overall 19 3/4 in. x 23 3/4 in. x 1 in. [$3000/5000]
Note: This lot has been authenticated by renowned Clementine Hunter expert Tom Whitehead.
Provenance: Acquired from the artist by Sybil Rhodes, Natchitoches, LA, thence by descent in the family; Private Collection, AR; Michael W. Murphy, El Dorado, AR.
Note: Renowned for her self-taught painting style, Theora Hamblett became one of Mississippi’s most celebrated and distinguished artists. Hamblett began her professional career late in life at the age of fifty-five, eschewing the abstract style popular at the time in favor of subjects more personal. Over the ensuing twenty-two years, she developed an extraordinary oeuvre that is as unique as it is powerful. Many of Hamblett’s paintings concentrated on her childhood memories, especially of the chicken farm in Paris, Mississippi where she spent her childhood. In nearly all her landscape paintings, she included animals or people, with the belief that those additions gave life to the scenes. After an accident which broke her hip and required surgery in 1954, Hamblett began to paint her dreams and visions, many with religious themes and elements. The same year, New York gallery owner and famous collector, Betty Parsons, discovered Hamblett’s work and subsequently one of her paintings was included in a 1955 show of new acquisitions at the Museum of Modern Art. Hamblett’s paintings have two main hallmarks that set them apart – pattern and color. Almost obsessively flat areas of color off-set by the equally flat subjects are in dramatic contrast to her distinctive and highly patterned trees. The effect of the foliage evokes movement, particularly in the rare windy scene with waving American flag offered here, as each leaf is individually painted resulting in layers of color. Hamblett was a lifelong resident of Lafayette County in Mississippi, and upon her death in 1977, she willed most of her collection of paintings to the University of Mississippi, making them rare to the market today.
Ref.: Hamblett, Theora. Theora Hamblett Paintings. Jackson: University Press of Mississippi, 1975. Theora Hamblett.” Greg Thompson Fine Art. www.gregthompsonfineart.com. Accessed Feb. 15, 2024.
38. Theora Hamblett (American/Mississippi, 1895-1977), “Purple Tree with White Dog”, 1975, oil on canvas board, signed and dated lower right, 10 in. x 8 in., framed, overall 15 1/4 in. x 13 in. x 1 1/2 in. [$7000/10000]
39. Southern School, 20th c., “I’m a Big Boar”, carved wood, unsigned, h. 21 in., w. 32 in., d. 7 1/2 in. [$600/800]
Provenance: Michael W. Murphy, El Dorado, AR.
40. Alice Latimer Moseley (American/Mississippi, 1909-2004), “Skunks in the Smokehouse”, acrylic on board, signed lower right, signed, titled and inscribed en verso, 16 in. x 20 in., framed with title plaque, overall 20 in. x 24 in. x 1 1/2 in. [$400/600]
Note: Alice Latimer Moseley started painting late in life at the age of sixty-five. When Moseley’s Alzheimer’s–afflicted mother moved in with her and her husband in the 1960s, Moseley took up painting as a way to deal with the grief, depression and stress that came with being a full–time teacher at work and caretaker at home. After her mother’s passing in the early 1970s, Moseley’s son convinced her to try and sell the large body of work she created while caring for her mother. She sold thirty paintings in one day in a Nashville flea market stall and decided that it was a sign to pursue art fulltime.
The lot on offer here “Skunks in the Smokehouse” highlights one of Moseley’s strengths: finding humor in southern life. Many of her works deal with southern people in all their varied and eccentric forms engaging in their daily lives and activities. While the levity with which she painted her subjects was born from a time of devastation, Moseley would often mention that without the pain of losing her mother, she would have never become an artist and viewed it as a precious gift that her mother gave her.
Ref.: “Alice”. Alice Moseley Folk Art Museum
www.alicemoseley.com. Accessed Feb. 16, 2024.
1909-2004), “Put the Biscuits in the Oven Mama”, 1981, acrylic on canvas board, signed and dated lower right, signed, titled and dated en verso, 16 in. x 20 in., framed, overall 23 in. x 27 in. x 1 1/2 in. [$400/600]
Note: “Art illuminates my world. My artistic vision is to create images that reveal the beauty within and beyond myself… I feel most alive when I paint. All of my senses are engaged, and I respond to, and I feel moved by, and into something larger than myself.” ~W. Earl Robinson Willie Earl Robinson was born in 1950 in Yazoo City in Mississippi, and he currently resides in Clarksdale. His paintings reflect the history and heritage of the Black community of the South as seen in the works on offer here depicting workers harvesting sugar cane and cotton. Ref.: “Willie Earl Robinson.” Hearne Fine Art. www.hearnefineart.com. Accessed Feb. 16, 2024.
3/8 in. x 32 in. x 1 1/2 in.
48. James “Son Ford” Thomas (American/Mississippi, 1926-1993), “Elmore James 1902-1955”, metal, pigment and gumbo clay, initialed on side, titled on top and side, h. 2 in., w. 4 1/2 in., d. 7 1/2 in. [$1500/2500]
Note: James “Son Ford” Thomas used “gumbo clay” that he foraged from various locations in the Mississippi Delta to shape the intriguing figures that make up his unique body of work. Taught how to “open and close” graves by his one-handed stepfather, Thomas made a living as a grave digger, which exposed him to the macabre culture of the funeral business. This inspiration paired with local superstitions about spooks and ghosts were incorporated into his sculptures which often featured skulls with corn or human teeth and figures in coffins such as the lot on offer here that depicts blues guitarist, Elmore James. Ref.: “James ‘Son Ford’ Thomas.” Souls Grown Deep www.soulsgrowndeep.org. Accessed Feb. 15, 2024.
49. James “Son Ford” Thomas (American/Mississippi, 1926-1993), “Statue of Liberty”, pigment, mixed media and gumbo clay, signed on underside, h. 13 in., w. 5 1/2 in., d. 5 in. [$1000/1500]
Provenance: Gasperi Gallery, New Orleans, LA.
50. Howard Finster (American/Alabama, 1916-2001), “Time is on your Side if You use it Right”, 1986, paint and marker on cut-out panel, signed lower center, signed twice, titled, dated and heavily inscribed en verso, 12 in. x 49 1/2 in., unframed. [$1500/2500]
Provenance: Gasperi Gallery, New Orleans, LA.
on
signed on first, second and fourth panels, 16 1/2 in. x 51 1/2 in., unframed; accompanied by a copy of a certificate of authenticity from the Purvis Young Foundation. (2 pcs.) [$1500/2500]
52. Purvis Young (American/Florida, 1943-2010), “Figures with Pink and Yellow”, 1994, oil on panel, signed upper right, signed and dated en verso, 96 in. x 17 in., unframed. [$1500/2500]
Provenance: The Doug and Cathy Gitter Collection.
Note: “Some folks don’t take me serious. They come to my place and want to talk about the bikes I got… If you don’t talk about my paintings, I don’t want to talk. God put me here to be an artist.” ~Purvis Young
Miami-born Purvis Young followed an untraditional path to discovering his creative talent. After a tumultuous childhood, Young landed in prison serving a sentence for armed robbery. It was there, when a guard handed him a sheet of paper and a pencil, that he discovered he enjoyed drawing. Inspired by a book illustrating the Chicago mural, “Wall of Respect,” which featured portraits of African American leaders, Young started piecing together his own mural in “Goodbread Alley” in Miami’s Overtown district in the 1960s – the first of the numerous murals Young would paint, many of which have since been disassembled or destroyed. Young’s work centered around the struggles and hardships of his community - hardships which he himself experienced as a young boy. Young recognized that art could be an effective way of documenting and processing the injustices he witnessed in his daily life. His work was often a blend of paintings and drawing with collaged elements and discarded found objects. Over time, he developed his own vast visual vocabulary of images inspired by documentaries, books, American history and spiritual folklore.
Ref.: Turner, Elisa. “Purvis Young: ‘God Put Me Here to be An Artist.’” The Jitney. Feb. 7, 2022. www.jitneybooks.com. Accessed Feb. 15, 2024; “Purvis Young.” Main Street Gallery. www. mainstreetgallery.com. Accessed Feb. 15, 2024.
Provenance: Peligro, New Orleans, LA
54. Raymond Coins (American/North Carolina, 1904-1998), “Untitled: Figure”, carved stone, signed on reverse, h. 22 1/2 in., w. 12 in., d. 4 in. [$1500/2500]
Note: Raymond Coins was born in 1904 in Stuart, Virginia and moved to North Carolina at the age of seven. Coins dropped out of school by the seventh grade to work on the family farm. He continued to work in farming and the tobacco industry until his retirement in 1976, when he began carving stone into arrowheads and ax heads. These small carvings soon led to a hobby of making figures of animals, people and religious imagery in stone and wood. Coins’ sculptures strongly resemble primitive tribal carvings, although his inspiration came from the material itself. He once said: “It comes in my mind what to make. I’ll roll the rock around and see what it makes. It pops in mind. It’s a mystery to me. I am amazed by it.”
55. Raymond Coins (American/North Carolina, 1904-1998), “Untitled: Three Figures”, carved stone, signed on reverse, h. 15 3/4 in., w. 12 1/2 in., d. 3 1/4 in. [$1200/1800]
56. Raymond Coins (American/North Carolina, 1904-1998), “Untitled: Figure”, carved stone, signed on reverse, h. 20 in., w. 12 1/2 in., d. 4 1/2 in. [$1500/2500]
58. Charles Gillam, Sr. (American/ Louisiana, b. 1945), “Irma Thomas Queen of Soul”, oil and mixed media on carved cabinet door, signed lower right, signed and titled en verso, 27 1/4 in. x 13 1/4 in., unframed. [$500/700]
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
57. Charles Gillam, Sr. (American/Louisiana, b. 1945), “Dr. John Night Tripper”, oil on carved panel, signed lower right, signed and titled en verso, 19 in. x 22 3/4 in., unframed. [$500/700]
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
Note: Born in New Orleans, Charles Gillam is a self-taught woodcarver and mixed media artist. Using a wide variety of found materials such as salvaged furniture, architectural elements and Mississippi River driftwood, Gillam fashions the likenesses of many of the city’s legendary musicians as well as vibrant scenes from its iconic jazz funerals, second line parades and unique culture.
Gillam is a long-time participant at the New Orleans Jazz & Heritage Festival, and his art has been acquired by prominent collectors and institutions across the country, including the Smithsonian National Museum of African American History and Culture and the National Blues Museum. He has been featured, locally and nationally, on radio programs, television shows, and in art publications. Gillam is also founder and director of the Algiers Point Folk Art Zone.
Ref.: Berry, Jason. “The Outsiders.” Gambit Weekly. May 27, 2003. www.bestofneworleans.com. Accessed Feb. 15, 2024; “Charles Gillam.” Folk Art Zone. www.folkartzone.org. Accessed Feb. 15, 2024.
59. Charles Gillam, Sr. (American/Louisiana, b. 1945), “Earl Palmer, Drummer Great”, oil on found drum, signed and titled on reverse, h. 11 1/2 in., w. 11 1/2 in., d. 6 3/8 in. [$300/500]
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
Note: Sam Doyle was born in 1906 on Saint Helena Island located off the coast of South Carolina and known for its isolated and unique Gullah community. He attended the nearby Penn School where his artistic talent was first noticed and encouraged but had to drop out before graduating to find work. He would not dedicate his full attention to art until later in life after retirement.
Doyle’s oeuvre focuses on important Black historical figures as well as the local characters who comprised the population of the small isle. In the painting offered here, Abraham Lincoln is visiting Frogmore in Saint Helena and greeting the artist on the right. The scene is a variation on the local legend of Lincoln visiting the community early in the Civil War to rally the slaves there.
Ref.: Nykolak, Jeneviv. “Sam Doyle.” National Gallery of Art. www.nga.gov. Accessed Feb. 15, 2024.
65. Gregory “Mr. Imagination” Warmack (American/Illinois, 1948-2012), “Eagle”, carved woodchips and mixed media, unsigned, h. 31 in., w. 30 1/2 in., d. 15 in. [$800/1200]
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
Note: “Years ago, my great aunt predicted I was going to be a minister, and in a way she was right. I think every artist is a messenger in a way.” ~ Mr. Imagination.
Born into poverty on the South Side of Chicago, Gregory Warmack began making art at a young age—carving African-style masks from found wood and making jewelry from items he found in the trash—then selling his creations at street fairs to make a living. Warmack was shot in the stomach and robbed after one such street fair, and while fighting for his life, he had an out-ofbody experience that changed him. He described it as “…peaceful, almost as if I was traveling through history and looking at ancient civilizations… If you look at my work, it has a feeling of being both ancient and timeless.”
When he awoke in the hospital, he was inspired to evolve his artistic style and methods. He changed his name to “Mr. Imagination” (“Mr. I” for short) and began using sandstone, bottle caps, and other castoff materials like woodchips, such as in the work offered here. He transformed those materials into complex and fascinating sculptures, meaningful in the spiritual energy he instilled in them. His art became an educational tool for kids to keep them off the streets, and major galleries around the United States began to carry his work.
Ref.: Shaw, Michelle, E. “Gregory Warmack, 64: Called ‘Mr. Imagination’ for his creativity in art.” The Atlanta Journal-Constitution. May 31, 2012. www.ajc.com. Accessed Feb. 16, 2024.
66. Gregory “Mr. Imagination” Warmack (American/Illinois, 1948-2012), “Paintbrush Head”, mixed media and pigment on found paintbrush, initialed on reverse, h. 9 in., w. 5 1/2 in., d. 2 3/4 in. [$400/600]
Provenance: Collection of Charles a nd Susan Gillam, New Orleans, LA.
68. Robert “Dr. Bob” Shaffer (American/ Louisiana, b. 1952), “Be Nice or Leave”, oil on panel, signed lower right, 12 in. x 12 in., original artistenhanced frame, overall 13 in. x 13 in. x 1/2 in. [$200/300]
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
67. Gregory “Mr. Imagination” Warmack (American/Illinois, 1948-2012), “Face Jug”, mixed media and pigment on found jug, unsigned, h. 14 in., w. 9 in., d. 9 in. [$400/600]
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
69. Steve Seneca (American/Louisiana, b. 1959), “Elizabeth’s”, oil on canvas, signed mid-right, signed and dated on stretcher, 29 3/4 in. x 24 in., framed, 31 5/8 in. x 25 1/2 in. x 1 1/4 in. [$300/500]
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
70. Ras Wayne Vicks (American/ Louisiana, 1963-2023), “Pipe”, oil on carved panel, signed en verso, 7 5/8 in. x 28 1/4 in., unframed. [$300/500]
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
76. Charles Gillam, Sr. (American/Louisiana, b. 1945), “Mr. Big Stuff”, mixed media on bowling pin, signed and titled on self-base, underside and reverse, h. 16 in., w. 5 3/4 in., d. 5 in. [$250/350]
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
78. Charles Gillam, Sr. (American/Louisiana, b. 1945), “Robert Johnson”, paint and mixed media on concrete, signed on reverse, h. 65 in., w. 35 in., d. 31 in. [$1500/2500]
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
77. Charles Gillam, Sr. (American/Louisiana, b. 1945), “Charley Patton”, oil on carved panel, signed lower right, signed and titled en verso, 19 3/4 in. x 14 5/8 in., unframed. [$500/700]
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
79. Charles Gillam, Sr. (American/Louisiana, b. 1945), “Bessie Smith”, paint and mixed media on concrete, signed on guitar, h. 72 in., w. 24 in., d. 17 in. [$1500/2500]
Provenance: Collection of Charles and Susan Gillam, New Orleans, LA.
81. American “Shirt and Tie” Metal Sign with Flashing Lights, “Impact Lamp Company, California” label on underside, h. 38 in., w. 36 in., d. 9 1/2 in. [$400/600]
82. “Chief” Philo Levi Willey (American/Louisiana, 18871980), “Flee [sic] Market”, 1971, color pencil and mixed media on paper laid on board, signed, titled and inscribed en verso, handwritten title plaque en verso of “Kamas Art Studio, New Orleans, LA” card inscribed “This is Chief’s Drawing of a Flea Market” in lower margin of mat, 12 in. x 16 in., framed, overall 22 in. x 25 5/8 in. x 1 in. [$200/300]
Note: Philo Levi Willey was born in Connecticut in 1887 and held a variety of jobs (including at lumber camps, sawmills, automobile factories, farms and the Barnum & Baily Circus) before moving to New Orleans in 1932 to work as a security guard for the New Orleans Sewage and Water Board. Willey eventually became head of security there, earning him the moniker “Chief.” Following his retirement from that job in 1966, he began to paint, showcasing his work along the fence in Jackson Square. The lot on offer here is characteristic of Chief’s work: a city scene full of people with bright color and dense with detail.
Ref.: Sellen, Betty-Carol. Self-Taught, Outsider and Folk Art: A Guide to American Artists, Locations and Resources 3rd Edition. Jefferson, NC: McFarland & Company Inc., 2016, pp. 274-275.
83. Woodie Long (American, 1942-2009), “Sharecroppers Carrying Cotton”, 2005, paint on paper, signed and dated lower right, sight 23 in. x 35 in., framed, overall 31 5/8 in. x 43 3/8 in. x 1 1/2 in. [$1000/1500]
Note: Woodie Long was born in Plant City, Florida as one of twelve children. His father was a migrant farmer and sharecropper, and Long’s childhood was spent working in the fields in lieu of attending school. As an adult, he became a house painter, which was his occupation for twenty-five years until his doctor advised him to retire in 1987. The urge to paint never left him, however, and one day he decided to try artmaking utilizing painting supplies from a community art class his wife had attended. Long’s desire was to capture the happier memories from his childhood to pass on to his children, and art soon became his passion. His vibrant works are a testament to his skill as a visual storyteller and deeply personal.
Ref.: Weber, Marcia. “Woodie Long.” Marcia Weber Art Objects www.marciaweberartobjects.com. Accessed Feb. 15, 2023.
87. Andrew LaMar
b. 1977),
Revival Gentleman”, 2010, acrylic on canvas board, signed and dated lower right, signed, titled and artist label en verso, 9 in. x 12 in., framed, overall 11 3/4 in. x 14 3/4 in. x 1 1/2 in.
Note: Andrew LaMar Hopkins’ engaging portrayals of daily life in 19th century Creole New Orleans have captivated the art world. The time period he reveals is both an imaginative fantasy and a history carefully researched and meticulously depicted. His subjects include the cities of New Orleans, Savannah and Mobile with distinctive antebellum architecture providing a framework for precise details and both free Creoles of color and white Creoles. Drawing on his knowledge as an antiquarian, Hopkin’s scenes contain accurate historical depictions of period appropriate decorative objects and costumes combined with underlying complex concepts of race, class and southern American history. As noted by Alison M. Gingeras: “Hopkins layers this fastidious devotion to authentic historical representation with a frank acknowledgement of how Creole culture upset the binary distinctions inherent to racial hierarchies of the early 19th century.”
84. Norman Taylor (American/Louisiana, b. 1993), “New Orleans Stevedore”, gouache on paper, signed lower right, 12 in. x 16 in., framed, overall 25 1/2 in. x 31 1/2 in. x 1 1/2 in. [$100/200]
85. Norman Taylor (American/Louisiana, b. 1993), “Cubana Gram”, gouache on paper, signed lower right, 11 in. x 14 1/8 in., framed, overall 14 1/4 in. x 18 1/4 in. x 1 in. [$100/200]
86. Norman Taylor (American/Louisiana, b. 1993), “Marie Laveau”, gouache on paper board, signed lower right, 20 in. x 16 in., framed, overall 29 in. x 25 in. x 2 3/4 in. [$200/300]
Ref.: Crow, Kelly. “Rising Art Star Brings Fresh Lens to ‘Forgotten’ Life of 19th Century Creoles.” The Wall Street Journal. Oct. 7, 2020. www.wsj.com. Accessed Feb. 15, 2024; Gingeras, Alison M. “Introductory Essay.”
Créolité: Andrew LaMar Hopkins. Venus Over Manhattan. Oct. 7, 2020. www.venusovermanhattan.com. Accessed Feb. 15, 2024; Pochoda, Elizabeth. “A Painter Resurrects Louisiana’s Vanished Creole Culture.” The New York Times. Jan. 16, 2020. www.nytimes.com. Accessed Feb. 15, 2024.
88. William Hemmerling (American/Louisiana, 1943-2009), “Woman with Orange Tree”, oil on found decorative print laid on board, unsigned, 48 in. x 36 in., framed, overall 55 5/8 in. x 43 1/2 in. x 3/4 in. [$3000/5000]
Provenance: Neal Auction, Apr. 9, 2022, lot 449.
Note: Chicago-born William Hemmerling moved to Ponchatoula, Louisiana as a young man. While he had a lengthy creative career as a decorator for Sears, his calling as an artist would not begin until 2002 following his retirement. His time as a “painter” (as he would refer to himself) was short-lived yet impactful and began at the Louisiana Furniture and Art Gallery in Ponchatoula when he was invited to display his artwork after he remarked to the proprietors: “I think you need more color on your walls.” Hemmerling was a self-taught artist and utilized various mixed media, specifically house paint and found objects with wood being an important component. His main subject matter dealt with the daily activities of rural African-Americans. Hemmerling often used found paintings or prints as a basis for his artwork and once wrote: “This is an old painting someone gave me and I always paint over them leaving small bits of the original as background. It’s called a piggy back.”
Ref.: Rose, Chris. “Louisiana Folk Artist Bill Hemmerling Dies at Home in Ponchatoula.” The Times-Picayune. June 16, 2009. www.nola.com. Accessed: Feb. 15, 2024.
90. Robert “Dr. Bob” Shaffer (American/Louisiana, b. 1952), “Alligator”, mixed media and pigment on found tin mounted to board, signed lower left, h. 28 1/2 in., w. 56 3/8 in., d. 6 in.
[$1500/2500]
91. Robert “Dr. Bob” Shaffer (American/Louisiana, b. 1952), “Monumental Alligator”, mixed media on panel, signed lower right, 46 3/8 in. x 95 1/4 in., artist frame, overall 48 in. x 95 3/4 in. x 2 1/4 in. [$5000/8000]
Note: Dr. Bob is a beloved self-taught folk artist in New Orleans. Originally from Kansas, Dr. Bob has spent most of his life in Louisiana, where his family moved in the mid-1960s for his father’s job at the Michoud NASA Assembly Facility. Always interested in the arts, Dr. Bob got his start in building picture frames and eventually set up his own studio in the Bywater neighborhood in 1990 where he is still located today. First, he carved sculptures out of wood, but then, he says, “I ran out of wood, so I just started messing around with paint.” His environmental and cultural surroundings greatly informed the direction of his work, with alligators being a prominent motif. His emblematic catchphrase “Be Nice or Leave” is a recurring theme and the message permeates his oeuvre, full of whimsy and a bright child-like joy.
The significant work offered here exemplifies this whimsicality with its smattering of polka dots and grinning gator. Dr. Bob is resourceful with his materials, salvaging the pressed tin from Memphis, Tennessee during a renovation of the former Battier’s Pharmacy at the intersection of Hernando and Beale Streets. Beale Street was the center of Black culture, featuring Blues music from the 1920s to the 1960s. The building has an illustrious history having been in continuous operation from 1896 to 1960 as a pharmacy with a hotel on the upper floors. This piece of the vintage tin ceiling has been given new life by Dr. Bob, reincarnated as an alligator. The gargantuan mixed media panel perfectly illustrates Dr. Bob’s unique artistic voice from the iconic subject matter and media to the artist’s enhanced frame studded in old Barq’s bottlecaps, yet another signature of the artist.
Ref.: “About Bob.” Dr. Bob Art. drbobart.net. Accessed Feb. 16, 2024.
92. Ronald Cooper (American/Kentucky, 1931-2012), “Hell Boat”, 1999, wood, found objects and pigment, signed, titled and dated on stern, h. 8 in., w. 16 5/8 in., d. 6 3/4 in. [$500/700]
Provenance: Gasperi Gallery, New Orleans, LA.
Note: Ronald Cooper was born in Plummers Mill, a tiny farming community in northeast Kentucky, the youngest of eleven children. He attended the local Christian Holiness Church, and his early religious grounding was later to have a defining influence on his body of work as an artist. In 1949, Cooper married sixteen-year-old Jessie Dunaway. Ronald and Jessie became artists by chance in their mid-fifties. After years of working in grocery stores and supermarkets in Kentucky and Ohio, the Coopers then managed their own country store. When this endeavor failed after eight years, Ronald was forced to take a job in quality control at a warehouse, and Jessie found employment at a nut packaging plant. In 1984, he was critically injured in an automobile accident which left him paralyzed from the waist down. While in recovery, he suffered from clinical depression and began having nightmares which he found he could only banish through artmaking.
Cooper first whittled animals in the mountain craft style, and then he moved to producing larger, more intricate wood sculptures. The husband and wife team complemented one another’s work – often collaborating. Jessie Cooper explained: “We each do our separate thing. But if I need something carved, he carves, and I sometimes paint on his.” Their work quickly rose to fame in the art world at an international level. Ronald is best known for his graphic, didactic sculptures of hell featuring tortured sinners and naked devils, often portrayed on found pieces of furniture and cabinetry. His work has been shown widely since the early 1990s and is in numerous public and private collections.
Ref.: Meehan, Lindsay. “He’s Got You and Me Brother.” The University of Michigan Museum of Art. www.umma.umich. edu. Accessed Feb. 15, 2024; “Ronald and Jessie Cooper: The Art of Redemption.” Raw Vision. Fall 2008. www.rawvision. com. Accessed Feb. 15, 2024.
93. Ronald Cooper (American/Kentucky, 1931-2012), “Hell is Where I Dump”, 1992, wood, found objects and pigment, signed, titled and dated on self-base, h. 12 in., w. 16 in., d. 5 1/2 in. [$400/600]
Provenance: Gasperi Gallery, New Orleans, LA.
94. Ronald Cooper (American/ Kentucky, 1931-2012), “The Devil’s Hot Tub”, wood, metal, found objects and pigment, unsigned, h. 25 in., dia. 12 in. [$800/1200]
Provenance: The Estate of Caroline P. Ireland.
95. Roy Ferdinand (American/Louisiana, 1959-2004), “Portrait of Mose Tolliver”, 1990, mixed media on paper, signed and dated lower right, sight 27 1/2 in. x 21 1/4 in., framed, overall 34 3/4 in. x 27 3/4 in. x 1 in. [$1500/2500]
Note: Born and raised in New Orleans, Roy Ferdinand was no stranger to the violence that plagued the streets of his neighborhood, Gert Town. Caught in the cycle of poverty and gang violence that permeated his community in the 1980s and 1990s, Ferdinand faithfully documented daily life in the rougher neighborhoods of the Crescent City. Utilizing media that he could buy from the drugstore such as poster board, color pencils and markers, Ferdinand recorded in detail the world he knew best with bright colors and often a strong sense of irreverence.
In the work offered here, Ferdinand portrays fellow artist and friend Mose Tolliver in his home studio amongst his brushes and paints and with his own painting displayed on the wall in the background. To the right of the artist, a window shade is raised revealing a blue sky and green tree line, and in the center, Tolliver’s unfaltering, intense gaze confronts that of the viewer. This important painting encapsulates two legends of American self-taught art in the South.
96. Mose Tolliver (American/Alabama, 1920-2006), “Table with Birds, Snakes and Turtle”, house paint on found wood table, signed, h. 14 1/8 in., w. 40 in., d. 19 in. [$400/600]
Provenance: Gasperi Gallery, New Orleans, LA.
97. Mose Tolliver (American/Alabama, 1920-2006), “Table with Birds”, house paint on found wood table, signed, h. 14 3/4 in., w. 48 1/4 in., d. 20 1/16 in. [$500/700]
Provenance: Gasperi Gallery, New Orleans, LA.
Provenance: Gasperi Gallery, New Orleans, LA.
Provenance: Gaspari Gallery, New Orleans, LA.
Provenance: Gasperi Gallery, New Orleans, LA.
Provenance: Gaspari Gallery, New Orleans, LA.
103. William Allen “Bill” Flowers (American/North Carolina, 20th c.), “Forbidden Fruit Jar”, glazed stoneware, marked and titled on side, h. 28 in., dia. 12 in. [$600/800]
104. Purvis Young (American/Florida, 1943-2010), “Party People”, 1999, paint and carpet on panel, signed upper center, 13 1/2 in. x 13 in., framed, overall 13 3/4 in. x 13 1/4 in. x 1 in.; accompanied by a copy of a certificate of authenticity from the Purvis Young Foundation. (2 pcs.) [$700/1000]
105. Purvis Young (American/Florida, 1943-2010), “Untitled”, double-sided paint on paper, unsigned, 9 in. x 6 1/2 in., framed, overall 10 3/8 in. x 8 3/8 in. x 1/2 in.; accompanied by a copy of a certificate of authenticity from the Purvis Young Foundation. (2 pcs.) [$300/500]
106. Purvis Young (American/ Florida, 1943-2010), “Angels”, paint on panel, signed mid-right, 12 1/2 in. x 7 3/4 in., framed, overall 12 3/4 in. x 8 in. x 1 in.; accompanied by a copy of a certificate of authenticity from the Purvis Young Foundation. (2 pcs.) [$400/600]
107. Mary Ann Carroll (American/Florida, 1940-2019), “Florida Sunset”, oil on canvas, signed lower right, 24 in. x 18 in., framed, overall 26 5/8 in. x 20 1/2 in. x 2 in. [$2000/3000]
Note: Mary Ann Carroll was born in 1940 in Georgia to a family of sharecroppers who moved to Fort Pierce, Florida when she was nine years old. She is well known for being the sole female member of the group of twenty-six Black artists known as the Florida Highwaymen. This group of artists painted and sold landscapes of Florida to support themselves and their families during a time of segregation in the United States. Carroll, a self-taught artist who was mentored by Harold Newtown as a teenager, was always drawn to art, stating: “From my youth, I could draw anything I could see.” Her stunning landscapes are expertly illustrated and characterized by rich, vibrant clouds and skies. The lot offered here is no exception with a seamless gradation in the intense colors of the sunset while white egrets provide a lovely contrast against the bright blue water. Inducted into the Florida Artists Hall of Fame in 2004, Highwaywoman Carroll’s successful career spanned nearly seven decades.
Ref.: “Mary Ann Carroll: ‘First Lady’ of Highwaymen leaves Rich Legacy.” Orange County Regional History Center. Dec. 6, 2019. www.thehistorycenter.org. Accessed Feb. 15, 2024.
Provenance: The Estate of Caroline P. Ireland.
112. Charles Vaughn Burlingham (American/California, 1920-2013), “Bird”, 1984, carved buckeye burl oak, signed and dated on underside, h. 11 in., w. 17 in., d. 11 in. [$100/200]
Provenance: Michael W. Murphy, El Dorado, AR.
113. Glen La Fontaine (CreeChippewa Tribe/Washington, b. 1947), “Man”, 1986, ceramic and pigment, signed and dated on reverse, h. 14 1/4 in., w. 5 in., d. 1 1/8 in. [$150/250]
Provenance: Michael W. Murphy, El Dorado, AR.
114. Debbie Toopkema (Hopi/ Arizona, 20th c.), “Angwushasumatake & Angwushahai-i”, wood and pigment, signed, titled and inscribed “Bacavi Village” on underside, h. 14 in., w. 3 1/4 in., d. 2 3/4 in. [$50/100]
Provenance: Michael W. Murphy, El Dorado, AR.
Provenance: Michael W. Murphy, El Dorado, AR.
117. Frederick Prescott (American/New Mexico, b. 1949), “Cactus”, 1988, steel and pigment, signed and dated on self-base, h. 73 in., w. 43 in., d. 50 in. [$1500/2500]
Provenance: Michael W. Murphy, El Dorado, AR.
Note: Frederick Prescott began working with metal at the young age of six. Prescott’s father was the owner and chief inventor of Universal Coin Meter Company and allowed his son to play with grinders, presses and other metalworking tools, so Prescott spent much of his childhood turning metal into art. At the age of twelve, he was enrolled in a short watercolor class which would inspire his lifelong love of color. With such an early introduction to elements that would make up his unique artistic aesthetic, Prescott established the foundations for his style of art—metal work forged with a high level of craft and the use of a bright, showy palette—before reaching adolescence. As he got older, Prescott began to be increasingly influenced by nature, specifically that of the southwest as is evident in the sculpture on offer here entitled “Cactus.”
117. Julian “Pocano” Martinez (San Ildefonso Pueblo/New Mexico, 1878-1943), “Dancer”, c. 1940, gouache and graphite on paper, signed lower center, inscribed with artist and date en verso, 12 in. x 10 7/8 in., unframed. [$700/1000]
119. Ben Ortega (American/New Mexico, 1923-1998), “Saint Francis”, carved wood, signed on underside, h. 10 1/2 in., w. 8 in., d. 4 1/4 in. [$150/250]
Provenance: Michael W. Murphy, El Dorado, AR.
120. Ernest Chapella (Hopi/New Mexico, d. 1997), “Corn Maid and Corn Child”, wood and pigment, signed and titled on underside, h. 17 in., w. 5 1/2 in., d. 4 in. [$100/200]
Provenance: Michael W. Murphy, El Dorado, AR.
121. Michael B. Ortega (American/ New Mexico, 1951-2011), “Gabriel”, 1989, wood, signed and dated twice on reverse, h. 42 in., w. 22 1/2 in., d. 16 in. [$400/600]
Provenance: Michael W. Murphy, El Dorado, AR.
122. American Folk Art School, 20th c., “Cactus”, wood and pigment, unsigned, h. 45 in., w. 46 in., d. 23 in. [$300/500]
Provenance: Michael W. Murphy, El Dorado, AR.
123. David Alvarez (American/New Mexico, 1953-2010), “Pig”, wood and pigment, signed on underside, h. 10 in., w. 17 1/2 in., d. 6 1/4 in. [$200/300]
Provenance: Michael W. Murphy, El Dorado, AR.
124. David Alvarez (American/ New Mexico, 1953-2010), “Porcupine”, wood and straw, signed on underside, h. 11 in., w. 10 in., d. 17 in. [$200/300]
Provenance: Michael W. Murphy, El Dorado, AR.
125. Max Alvarez (American/New Mexico, b. 1952), “Burro”, 1985, wood, textile and pigment, signed and dated on underside, h. 38 in., w. 16 in., d. 45 in. [$300/500]
Provenance: Michael W. Murphy, El Dorado, AR.
126. American Folk Art School, 20th c., “Ladybug”, metal, found objects and mixed media, unsigned, h. 81 in., w. 53 in., d. 58 in. [$1000/1500]
Provenance: Michael W. Murphy, El Dorado, AR.
127. Mexican Folk Art School, 20th c., “Cock Fight”, terracotta, unsigned, h. 3 3/4 in., w. 7 in., d. 7 1/4 in. [$200/300]
Provenance: The Estate of Caroline P. Ireland.
Provenance: Michael W. Murphy, El Dorado, AR.
128. Mexican Folk Art School, 20th c., “El Sol”, ceramic and pigment, unsigned, dia. 17 in. [$100/150]
Provenance: The Estate of Caroline P. Ireland.
Provenance: Michael W. Murphy, El Dorado, AR.
131. Mexican Folk Art School, 20th c., “Giraffe”, wood, paint and nails, unsigned, handwritten “Mexico” label on underside, h. 30 in., w. 25 in., d. 4 in. [$150/250]
Provenance: Michael W. Murphy, El Dorado, AR.
132. Mexican Folk Art School, 20th c., “Deer”, wood, nails and paint, unsigned, stamped “Mexico” on underside, h. 15 in., w. 12 in., d. 8 in. [$200/300]
Provenance: Michael W. Murphy, El Dorado, AR.
133. Mexican Folk Art School, 20th c., “Iglesias”, 2 terracottas and pigment, unsigned, h. 8 1/2 in., w. 9 in., d. 4 1/2 in. and h. 10 in., w. 9 in., d. 4 in. (2 pcs.) [$100/200]
Provenance: Michael W. Murphy, El Dorado, AR.
134. Mexican Folk Art School, 20th c., “Iglesia”, terracotta and pigment, unsigned, h. 17 1/2 in., w. 12 1/4 in., d. 4 1/2 in. [$200/300]
Provenance: Michael W. Murphy, El Dorado, AR.
135. Mexican Folk Art School, 20th c., “Iglesias”, one terracotta and wire and one terracotta, pigment and wire, unsigned, one stamped “Hecho en Mexico” on underside, h. 5 1/4 in., w. 5 1/4 in., d. 1 1/2 in. and h. 10 in., w. 5 in., d. 3 5/8 in. (2 pcs.) [$100/200]
Provenance: Michael W. Murphy, El Dorado, AR.
Provenance: Michael W. Murphy, El Dorado, AR.
Provenance: Michael W. Murphy, El Dorado, AR.
Provenance: Michael W. Murphy, El Dorado, AR.
Provenance: Michael W. Murphy, El Dorado, AR.
Provenance: Michael W. Murphy, El Dorado, AR.
A
Concepcion Aguilar, 129
Irene Aguilar, 130
David Alvarez, 124
Max Alvarez, 125
American Folk Art School, 4, 24, 122, 126
B
Sainte James Boudrot, 60
Nancy Brady, 115
Charles Vaughn Burlingham, 112
C
Mary Ann Carroll, 107
Thams Chambers, 1
Anthony Clark, 73
Raymond Coins, 54-56
Ronald Cooper, 92-94
D
Bruce “Dapper Bruce Lafitte” Davenport, Jr., 75
Paul “Jawbone” Douroux, 74
Sam Doyle, 64
E
Ernest Chapella, 120
F
Roy Ferdinand, 95
Howard Finster, 50
William Allen “Bill” Flowers, 103
France Marie Folse, 27-31
G Carroll Lester Gautreaux, 25, 26
Sybil Gibson, 9-13
Charles Gillam, Sr., 57-59, 63, 76-79
H
Haitian School, 136-138, 142
Theora Hamblett, 37, 38
Beatrice “BeA” Haverbusch, 7, 8
William Hemmerling, 88
Andrew LaMar Hopkins, 87
R. Howland, 110
Clementine Hunter, 32-36
J Serge Jolimeau, 140
K
Charley Kinney, 32, 33
L
Glen La Fontaine, 113
Edward “Shaka” Butler Lanoux, 72 Woodie Long, 83
M
Julian “Pocano” Martinez, 117
Earl Merchant, 5, 6
Mexican Folk Art School, 127, 128, 131-135
Alice Latimer Moseley, 40-43
N
Harry Ningealook, 111
Ben Ortega, 119
Michael B. Ortega, 121 P
Ron Pippin, 116
Scott Prado, 108
Frederick Prescott, 117
R Ruth Robinson, 19-21
W. Earl Robinson, 44-47
S
Steve Seneca, 69
Robert “Dr. Bob” Shaffer, 68, 90, 91
Dr. Charles Smith, 61
Southern Folk Art School, 109
Southern School, 39
J. F. Stephens, 3
T
Alfred “Big Al” Taplet, 62
Norman Taylor, 84-86
James “Son Ford” Thomas, 48, 49
Mose Tolliver, 14-18, 96-102
William Tolliver, 89
Debbie Toopkema, 114
V
L. Vernet, 141
Ras Wayne Vicks, 70, 71
Philippe Vieux, 139
W
Gregory “Mr. Imagination” Warmack, 65-67
Henry Watson, 22, 23
“Chief” Philo Levi Willey, 82
Y
Purvis Young, 51-53, 104-106
March 14 - Vernacular & Outsider Art Auction
April 18 & 19 - Premier Collections Live Auction
May 16 - UNRESERVED @ Neal Auction
May 30 - Women’s Art Live Auction
July 27 & 28 - Premier Collections Live Auction
July 18 - Mid-Century, Modern, Contemporary Art & Design
August 8 - UNRESERVED @ Neal Auction
September 19 & 20 - Premier Collections Live Auction
October 17 - UNRESERVED @ Neal Auction
November 14 & 15 - Louisiana Purchase Auction™
December 5 - UNRESERVED @ Neal Auction
December 19 - Mid-Century, Modern, Contemporary Art & Design
John R. Neal (1940-2018), Founder
Michelle LeBlanc Leckert, CAI President
Katherine Hovas Senior Vice President
ADMINISTRATION
Director of Administration & Finance
Michelle LeBlanc Leckert, CAI
Client Services / Accounts Receivables
Rebekah Abernathy
Database Management / Internet Auction Administrator
Lisa Weisdorffer
Marketing & Social Media
Cameron McHarg
General Manager
Jason Leckert
Administrative Assistant
Claire Whitmore
GRAPHICS
Graphics Director / Catalogue Design
David Roberts
Photography
Gerard Lewis
Jason Leckert
OPERATIONS
Operations Staff
Charlie Clay
Jerry Major
Graphics Staff
Stephanie Do Ouro
Amanda Torres
Adam Trepagnier
Decorative Arts Inventory Management
Charlie Clay
AUCTIONEERS
Michelle LeBlanc Leckert #1514
Bettine Field Carroll #1874
Marc Fagan #1935
Marney Robinson #2155
Cameron McHarg #2184
Marc Fagan Vice President Consignments
CONSIGNMENTS
Paintings, Prints & Photography, Sculpture
Marney Robinson; Sophie Hirabayashi; Casey Foote; Renee Longon
Books, Maps & Natural History Prints, Modern Furniture
Marc Fagan
Antique Furniture & Decorative Arts
Jason Leckert
Silver & Decorative Arts
Katherine Hovas
Jewelry & Couture
Cameron McHarg
Fine Art Inventory Manager, Wine & Spirits
Casey Foote
Consignments Administrator
Heather Munch
AUCTION SERVICES
Trust & Estates Advisor
Henry G. McCall
Appraisals
Marc Fagan, Cameron McHarg
Asian Arts & Special Projects
Bettine Field Carroll
Decorative Arts & Victoriana
Ann M. Masson
Jewelry - GIA Graduate Gemologist
Stephen A. Moses