Neal Auction Important Estates September 2015

Additional information at www.nealauction.com 59 351. Walter Inglis Anderson (American/Mississippi, 1903‑1965) , “Dancing Billy Goats”, watercolor and pencil on paper, unsigned, inscribed by artist en verso, 8 1/2 in. x 11 in., framed. $10000/15000 Provenance: Descended in the family of the artist, Ocean Springs, MS. Note: This rare and important watercolor by Walter Anderson bears the following inscription in pencil en verso: “The dance is not always believably a dance but sometimes where the consciousness of being part of the dance permeates all action.” Anderson depicts two billy goats reared up on their hind legs, striking whimsical dance poses. Whether these goats were a product of the artist’s fertile imagination or actual dancing goats is not known. They are painted in Anderson’s characteristic style, utilizing strong outlines of bold color contrasted with negative space. 352. Walter Inglis Anderson (American/Mississippi, 1903‑1965) , “Pompano”, c. 1960s, watercolor and pencil on paper, unsigned, “Tilden‑Foley Gallery, American Art, New Orleans” exhibition label with title and date en verso, 11 in. x 8 in, framed; accompanied by Certificate of Authenticity from the Estate of Walter Anderson, signed by Jean Gilley, May 17, 1992; Tilden‑Foley Gallery, 1992 exhibition postcards for “Walter Anderson: Paintings, Watercolors and Drawings” with “Pompano” illustrated; photocopy review of exhibition by D. Eric Bookhart in Gambit entitled “Anderson Emerging as Mythic Figure in American Art”, January 24, 1992 with “Pompano” illustrated and other ephemera. $8000/12000 Provenance: D. Benjamin Kleinpeter, Sr. Collection, Baton Rouge, LA. 353. Loïs Mailou Jones (American, 1905‑1998) , “Portrait of a Haitian Woman Dressed in White”, 1959, oil on canvas board, signed and dated lower left, 20 in. x 24 in., framed. $8000/12000 Provenance: A New York Estate. Note: A painter who studied at many of Boston’s most prestigious art schools, Loïs Mailou Jones was a member of the Harlem Renaissance who helped bring attention to the art of countless African, African-American, and Haitian artists of the 20th century. After taking courses at the School of the Museum of Fine Arts in Boston and the Boston Normal Arts School and exhibiting at the William E. Harmon Foundation, Jones received a fellowship to study at the Académie Julian in Paris. She later completed additional studies at Harvard, Columbia, and Howard universities as well. Developing friendships with artists and writers of various ethnicities and nationalities, such as Dorothy West, Langston Hughes, Céline Marie Tabary, and Louis Pierre-Noel (whom she would eventually marry), Jones became interested in African, French, and Haitian art and literary movements including Négritude and the Harlem Renaissance. She visited Haiti, France, and many African countries throughout her career and continued to advocate for artists of African and Caribbean descent. Almost twenty years after meeting, Loïs Mailou Jones and Louis Pierre-Noel were married in 1954 and began traveling to Haiti during the summer months. The work offered here depicts a 1950s Haitian woman in a white dress and hat, seated in a colorful interior - Jones’ palette had become bright and her paintings full of vitality since the beginning of her Haitian period in the 50s, no doubt reflecting the colorful and energetic character of the Haitian people she so admired.